Doug Marlette (1949–2007): Pulitzer Prize-Winning Cartoonist and Literary Talent

Doug Marlette—born Douglas Nigel Marlette on December 6, 1949, and killed in a car crash on July 10, 2007—belongs in the top tier of modern American editorial cartoonists: artists whose lines didn’t just illustrate the news but helped readers feel it. He was sharp without being hollow, funny without being disposable, and political without becoming predictable. In a profession where outrage can flatten nuance, Marlette’s best work managed the rare trick of being both biting and human, built on a deep understanding of Southern life and national power. His career earned him the 1988 Pulitzer Prize for Editorial Cartooning, and his influence traveled far beyond the page through his long-running comic strip Kudzu, his novels, and his teaching.

Marlette’s death at 57 was sudden and widely mourned. Reports at the time noted he died in a single-vehicle accident in Mississippi, where he had traveled to support a group mounting a stage version of Kudzu—an ending that feels heartbreakingly consistent with his life: the working cartoonist still showing up, still invested in the next performance, the next page, the next conversation.

This long-form profile aims to do what Marlette’s own cartoons did so well: place a public figure in context. Not just dates and awards—though those matter—but the creative engine behind the work: why he drew what he drew, how his voice developed, how Kudzu became a national phenomenon, and why his legacy remains instructive for cartoonists, journalists, and readers who still believe a drawing can tell the truth faster than a thousand words.

Early Life and Career Beginnings

Douglas Nigel Marlette, known to many as Doug Marlette, was born on December 6, 1949, in Greensboro, North Carolina. Raised in various locales, including Durham, North Carolina; Laurel, Mississippi; and Sanford, Florida, Marlette’s formative years laid the groundwork for his illustrious career as an editorial cartoonist and author.

Marlette’s artistic journey commenced during his college years at Seminole Community College and later at Florida State University. While pursuing his education, he honed his craft by contributing political cartoons to publications such as The Florida Flambeau, showcasing his talent and passion for visual storytelling.

The quick snapshot: who Doug Marlette was—and why he mattered

Doug Marlette was a Pulitzer Prize-winning editorial cartoonist and the creator of the syndicated comic strip Kudzu, a funny, affectionate, occasionally savage portrait of a fictional Southern town and its people. He drew for major newspapers across several decades, including The Charlotte Observer, The Atlanta Journal-Constitution, Newsday, and later roles connected to The Tallahassee Democrat and Tulsa World.

At the time of his death, he had published two novels—The Bridge (2001) and Magic Time (2006)—showing he wasn’t simply “a cartoonist who tried prose,” but a writer serious about long-form storytelling.

He also held a rare distinction in American journalism: Nieman-related profiles describe him as the first editorial cartoonist to be named a Nieman Fellow (Class of 1981), a marker of how early the profession recognized his ability to combine craft with civic insight.

Career Overview

• Charlotte Observer, 1972-87: Cartoonist, journalist, and writer.
• Creator and author of the comic strip “Kudzu,” 1981-2007.
• Constitution, Atlanta, GA, 1987-89: Editorial cartoonist.
• Newsday, New York, NY, beginning 1989: Editorial cartoonist.
• Tulsa World, 2006-07: Editorial cartoonist.
• Distinguished Visiting Professor at the University of North Carolina at Chapel Hill’s School of Journalism and Mass Communication in 2001.
• Gaylord Distinguished Visiting Lecturer at the University of Oklahoma’s College of Journalism and Mass Communication, 2006-07.
• Serves on the UNC J-School’s Board of Visitors.
• Made appearances on television programs, including ABC News Nightline, Good Morning America, and CBS Morning News, as well as on radio shows like Morning Edition.

Learning the craft: student papers, political cartoons, and the newsroom pull

Marlette’s cartooning path began early and became public during his college years. He attended Seminole Community College and later Florida State University, where he drew political cartoons for the student publication The Florida Flambeau. That detail matters because it places him firmly in the tradition of cartoonists who learn their voice in the pressure-cooker of campus politics: quick deadlines, passionate arguments, and the necessity of making a point with economy.

Editorial cartooning is not merely drawing well. It is journalism, analysis, theater, and branding at once. A young cartoonist must learn how to read the news like an editor, think like a satirist, and communicate like a billboard designer. That mixture—news sense plus visual punch—was Marlette’s natural environment.

The Charlotte Observer years: building a national reputation (1972–1987)

By the early 1970s, Marlette had entered professional newspapers. Coverage of his career frequently points to The Charlotte Observer as an early and significant home. It was in papers like this that his style matured: bold, direct images; a willingness to target powerful institutions; and a clear instinct for what readers would understand instantly, even if they disagreed.

A strong editorial cartoonist at a major regional paper serves two audiences simultaneously:

1. The local readership, with its specific cultural cues and political habits.
2. The national conversation, where cartoons are syndicated, shared, and judged by peers.

Marlette’s work traveled because he could operate in both registers. His cartoons could be rooted in Southern speech patterns or local political assumptions, yet still readable in New York or Los Angeles. That is harder than it sounds. Many cartoonists are either deeply local or broadly generic. Marlette found a third lane: regional specificity with universal emotional clarity.

Nieman Fellow: validation of a rare journalistic mind (1981)

In 1981, Marlette became a Nieman Fellow, and Nieman profiles later described him as the first editorial cartoonist to receive that fellowship. Whether you read that as a symbolic milestone or a practical one, it signals how unusual his work was: cartooning taken seriously at the level typically reserved for reporters, editors, and scholars.¹²³

The Nieman year matters because it suggests a cartoonist expanding his toolkit: sharpening political understanding, widening cultural reference points, and refining an approach to public persuasion. Great editorial cartoons aren’t just jokes; they are arguments. And arguments improve when the artist deepens their knowledge of history, power, and human behavior.

Professional Success and Accomplishments

Marlette’s prominence in editorial cartooning began with his tenure at esteemed publications, including The Charlotte Observer, The Atlanta Journal-Constitution, New York Newsday, The Tallahassee Democrat, and The Tulsa World. His biting satire and incisive commentary earned him widespread acclaim, culminating in the prestigious Pulitzer Prize for Editorial Cartooning in 1988.

In addition to his editorial work, Marlette’s iconic comic strip “Kudzu,” which debuted in 1981, captured readers’ hearts worldwide. The strip’s success led to a musical comedy adaptation, further solidifying Marlette’s status as a multifaceted creative force.

Awards, Honors:

• Overseas Press Club Citation
• Nieman Fellow, Harvard University (1980-81)
• Award from Sigma Delta Chi—Atlanta Chapter (1982)
• National Headliners Awards (1983, 1988)
• First Prize for Editorial Cartooning, Robert F. Kennedy Journalism Awards (1984)
• Inclusion in the Register of Men and Women Who Are Changing America by Esquire (1984)
• Distinguished Service Award for Editorial Cartooning, Sigma Delta Chi (circa 1985)
• First Amendment Award (1986)
• First Place, John Fischetti Editorial Cartoon Competition (1986)
• Pulitzer Prize for Editorial Cartooning, Columbia University Graduate School of Journalism (1988)
• Golden Plate Academy of Achievement Award (1991)
• Journalism Hall of Fame (2002)
• Order of the Long Leaf Pine, State of North Carolina (2007)

Literary Contributions and Academic Pursuits

Beyond his achievements in cartooning, Marlette’s literary endeavors added depth to his illustrious career. His novels, including “The Bridge” and “Magic Time,” garnered critical acclaim and showcased his storytelling prowess. Moreover, his insights into the cartooning process were immortalized in his book “In Your Face: A Cartoonist at Work.”

Marlette’s passion for education and mentorship was evident in his roles as a visiting professor at esteemed institutions such as the University of North Carolina at Chapel Hill and the University of Oklahoma. His induction into the UNC Journalism Hall of Fame underscored his impact on future generations of journalists and artists.

Cartoon Collections

“The Emperor Has No Clothes” (Published under the name Marlette)

• Introduction by Reese Cleghorn
• Published by Graphic Press in 1976 (Washington, DC)

“Drawing Blood: Political Cartoons” (Published under the name Marlette)

• Foreword by Jules Feiffer
• Published by Graphic Press in 1980 (Washington, DC)

“Kudzu”

• Published by Ballantine in 1982 (New York, NY)

“Preacher: The Wit and Wisdom of Reverend Will B. Dunn”

• Published by Nelson in 1984 (Nashville, TN)

“It’s a Dirty Job—But Somebody Has to Do It! Cartoons”

• Published by Willnotdee Press in 1984 (Charlotte, NC)

“Just a Simple Country Preacher: More Wit and Wisdom of Reverend Will B. Dunn”

• Published by Nelson in 1985 (Nashville, TN)

“There’s No Business Like Soul Business”

• Published by Peachtree in 1987 (Atlanta, GA)

“Shred This Book! The Scandalous Cartoons of Doug Marlette”

• Published by Peachtree in 1988 (Atlanta, GA)

“I Am Not a Televangelist! The Continuing Saga of Reverend Will B. Dunn”

• Published by Longstreet in 1988 (Atlanta, GA)

“A Doublewide with a View: The Kudzu Chronicles”

• Published by Longstreet in 1989 (Atlanta, GA)

“‘Til Stress Do Us Part: A Guide to Modern Love by Reverend Will B. Dunn”

• Published by Longstreet in 1989 (Atlanta, GA)

“In Your Face: A Cartoonist at Work”

• Published by Houghton in 1991 (Boston, MA)

“Even White Boys Get the Blues: Kudzu’s First Ten Years”

• Introduction by Pat Conroy

• Published by Times Books in 1992 (New York, NY)

“Faux Bubba: Bill & Hillary Go to Washington”

• Published by Times Books in 1993 (New York, NY)

“Gone with the Kudzu”

• Published by Rutledge Hill Press in 1995 (Nashville, TN)

“‘I Feel Your Pain'”

• Published by Loblolly Books in 1996 (Winston-Salem, NC)

Other

“Chocolate Is My Life: Featuring Doris the Parakeet”

• Publisher: Peachtree Publishers
• Location: Atlanta, GA
• Year: 1987

“The Before and After Book”

• Type: Children’s book
• Publisher: Houghton
• Location: Boston, MA
• Year: 1992

“Kudzu: A Southern Musical”

• Type: Play
• Co-authored with Jack Herrick and Bland Simpson
• Produced at Duke University and Ford’s Theatre, Washington, DC
• Publisher: S. French
• Location: New York, NY
• Year: 1999

“The Bridge”

• Type: Novel
• Publisher: HarperCollins
• Location: New York, NY
• Year: 2001

“Magic Time”

• Type: Novel
• Publisher: Farrar, Straus, and Giroux
• Location: New York, NY
• Year: 2006

Additional Information:

Creator of syndicated animated editorial cartoons broadcast on Today, National Broadcasting Company.

Creator of the comic strip “Kudzu” in 1981.

The Atlanta move and the Pulitzer Prize (1988): satire with consequence

Marlette’s career included a major period at The Atlanta Journal-Constitution (AJC), and it was for work associated with that era that he won the 1988 Pulitzer Prize for Editorial Cartooning. Pulitzer-related pages listing 1988 winners and finalists include Marlette as the winner in the category.⁴⁵

Obituaries and retrospectives have emphasized how his targets included high-profile public scandals of the time—especially televangelist controversies—because Marlette had a particular talent for skewering performative morality: the gap between what institutions preach and what they do. A Los Angeles Times obituary notes his Pulitzer win and frames his work in that landscape.⁶

If you want to understand Marlette’s edge, start here: he was not interested in polite satire. He drew with the instincts of a reporter who had seen the machinery up close and decided the public deserved to see it too. His best cartoons don’t simply mock—they reveal a structure: hypocrisy, greed, demagoguery, cowardice.

And yet—this is important—he rarely fell into nihilism. Even his harshest work carries an underlying belief that truth-telling matters, that citizens are not fools, and that public shame can still serve a democratic purpose.

Newsday and the national stage: sharpening the blade without losing the laugh

Marlette later worked at Newsday, and several sources describe his career arc through that period while emphasizing his national presence. Even when anchored at a specific paper, a top editorial cartoonist exists in the larger ecosystem of syndication and television appearances, where drawings become part of a broader media argument.

Here, his role became increasingly delicate: to remain accessible while commenting on politics that were becoming more polarized, media-driven, and cynical. The 1990s and early 2000s were a period in which political cartoons faced shifting expectations: newspapers were changing, attention spans were shortening, and outrage was becoming more profitable than analysis.

Marlette’s answer—judging by the body of work and the way colleagues describe him—was to lean into clarity. Not simplification, but clarity: the kind that ensures even an angry reader knows exactly what the cartoonist is saying.

“Kudzu”: the comic strip that turned Southern life into a national mirror (1981–2007)

Many people who never touched editorial pages still knew Doug Marlette because of Kudzu, his syndicated daily strip about a fictional Southern town. Sources note that Kudzu launched in 1981 and continued until after his death in 2007, with the strip running through concluding dates as syndication continued.⁷

Why Kudzu mattered

On the surface, Kudzu belongs to the tradition of American regional strips: small-town life, recurring characters, local eccentricities. But Marlette’s difference was that he treated that small town as a microcosm of national identity. The South in Kudzu isn’t just “Southern”—it’s American, with Southern flavor acting as a magnifying glass.

The strip’s title itself is a clue. Kudzu vine—introduced and encouraged as a soil-control solution—later became a famously invasive species in the Southern U.S., overtaking landscapes it was meant to “help.” That metaphor aligns with Marlette’s worldview: good intentions can spiral, systems can entangle, and culture can be both beautiful and suffocating.

The cast: humor as sociology

The strip’s roster included teenagers, preachers, neighbors, and local archetypes. One of its standout creations—frequently noted by historians of the strip—was Reverend Will B. Dunn, a preacher figure who became a vehicle for Marlette’s commentary on religion, power, hypocrisy, and Southern charisma.

Marlette’s genius in Kudzu was that he did not write his characters as mere punchlines. Even when they were ridiculous, they had recognizable motivations: status, fear, pride, desire, loneliness. That’s why the strip could move from comedy to tenderness without feeling dishonest. It is also why the strip could sustain a long run: the town was elastic enough to absorb new cultural moments.

Syndication success

Reports have noted that Kudzu reached significant distribution—VOA’s account mentions it being syndicated widely and at its peak in hundreds of papers.

That scale matters because syndication is a brutal meritocracy. Editors choose strips that can land in different cities, different regions, and different political moods. Kudzu did that because its humor wasn’t dependent on a single local reference; it was dependent on human behavior.

The musical: when a comic strip becomes a stage community

Marlette’s work didn’t stop at ink and newsprint. Kudzu was adapted into a stage production, Kudzu: A Southern Musical, created with Jack Herrick and Bland Simpson (associated with the Red Clay Ramblers). Theatre licensing descriptions credit the book/music/lyrics to Herrick, Marlette, and Simpson, and describe it explicitly as based on Marlette’s strip.⁸

Production histories associated with the Red Clay Ramblers note performances including Ford’s Theatre in Washington, D.C. and Duke University, with a world premiere period noted in the late 1990s.⁹¹⁰

This is more than a trivia detail. It reveals something about Marlette’s creative temperament: he wasn’t protective in a narrow way. He was willing to let his fictional world be translated into another form—music, performance, regional storytelling—because he understood that his characters were already theatrical. Small towns are theater; preachers are performers; politics is stagecraft. Kudzu simply made that explicit.

It also gives added weight to the tragic detail in reports of his death: he was in Mississippi to help students produce a musical version of Kudzu when the accident occurred.

The cartoonist as novelist: The Bridge and Magic Time

Editorial cartoonists are trained in compression: one image, one idea, one punch. Novelists, by contrast, build pressure slowly. Marlette’s move into fiction wasn’t a side hobby; it was a second mountain.

VOA’s report on his death notes that he had published The Bridge (2001) and Magic Time (2006).¹¹¹²

The Bridge (2001): homecoming and history

The Bridge is often described as a Southern novel rooted in returning home and confronting buried histories. Even without reproducing extensive plot details here, what matters is the continuity with Marlette’s cartooning: the fascination with community memory, moral compromise, and the way ordinary people collide with larger social forces.

Magic Time (2006): civil rights, memory, and reckoning

Magic Time is framed in publisher and bookseller descriptions as a novel engaging with civil rights-era tensions and a protagonist returning to Mississippi while a long-ago violent crime resurfaces in public life.

This subject matter aligns perfectly with Marlette’s lifelong artistic territory: the South as a site of myth, pain, comedy, and unfinished business. It also underscores why his fiction mattered: he wasn’t escaping cartooning—he was expanding the same moral questions into longer form.

What made his editorial cartoons distinct: craft, voice, and the ethics of satire

If you reduce Marlette’s work to “biting satire,” you miss the deeper mechanism. His drawings operated on at least four levels:

1. Visual readability (the billboard test)

Marlette’s cartoons are built for immediate comprehension. Strong silhouette, strong facial exaggeration, legible labeling when needed. This isn’t “simple”—it’s disciplined. Editorial cartoons fail when readers must decode them like puzzles. Marlette understood the newspaper environment: the reader is busy, the page is crowded, attention is limited. Clarity is respect.

2. A Southern ear for dialogue

Even in single-panel cartoons, Marlette often wrote in a voice that feels spoken rather than “written.” That’s a Southern storytelling trait: rhythm matters. Whether he was skewering hypocrisy or writing Kudzu dialogue, the phrasing carries that sense of someone who listened to real people and trusted their idioms.

3. A target list driven by power, not party

Marlette could be fierce toward public figures and institutions because he understood satire as a civic instrument. His attacks weren’t simply personal. They were aimed at the abuse of influence—political, religious, corporate. That is a classic American editorial tradition: the cartoonist as a watchdog with a pen.

4. The line between cruelty and truth

Cartooning is a dangerous art because it rewards exaggeration. Marlette’s best cartoons feel sharp but not lazy. He could exaggerate a politician’s arrogance without dehumanizing the public. He could depict institutional hypocrisy without turning every person into a monster. That balance is why the work has lasted: it doesn’t depend on the shallow thrill of meanness.

Public presence: television, syndication, and the cartoonist as public intellectual

In the late 20th century, top editorial cartoonists increasingly became media figures—invited to talk about politics, freedom of speech, and the role of satire in democracy. Accounts of Marlette’s career mention his visibility beyond newspapers, and his work’s appearance in major outlets.¹³

That matters because editorial cartooning is often misunderstood as “just jokes.” Marlette’s career reminds us it’s a form of public reasoning. A great cartoonist is not merely an artist but an analyst—sometimes more effective than columnists because images bypass defensive logic and go straight to recognition.

Teaching and mentorship: the craft passed forward

Marlette’s later career included significant academic involvement. Profiles connected to journalism schools and Nieman-related sources describe him as a figure invested in education and the broader journalism community—whether through visiting roles, lectures, or institutional ties.¹⁴¹⁵

This is not a footnote. A cartoonist who teaches is doing something radical: explaining a craft that is partly instinct, partly politics, partly visual design, and partly ethics. Teaching forces the artist to articulate what cannot be faked: how to make a point without lying, how to criticize without collapsing into propaganda, and how to survive the backlash that inevitably follows.

Personal Life and Tragic Passing

Despite his professional accomplishments, Marlette remained grounded in his personal life, cherishing time with his family and forging lasting friendships. His close bond with renowned author Pat Conroy exemplified his warmth and generosity of spirit.

Tragically, Marlette’s life was cut short on July 10, 2007, in a devastating accident. While en route to assist students with a performance of “Kudzu, A Southern Musical,” Marlette’s vehicle hydroplaned and struck a tree, resulting in his untimely death. His passing left an irreplaceable void in journalism and the arts, with colleagues and admirers mourning the loss of a visionary talent.

The final days: a working artist to the end

The circumstances of Marlette’s death have been widely reported: he died in Mississippi in a single-car accident, with officials believing the vehicle hydroplaned in heavy rain before striking a tree.¹⁶

VOA’s report adds context that he had traveled to help students produce the Kudzu musical, and notes he had recently delivered a eulogy for his father—details that paint a picture of a man stretched by work, family, and obligation, still moving, still showing up.¹⁷

When public figures die suddenly, the temptation is to fossilize them as “legend.” Marlette deserves better than that. He should be remembered as a working cartoonist with deadlines, controversies, risks, and growth—someone who remained creatively restless even after winning the Pulitzer.

Why Doug Marlette’s legacy still matters and beyond

Douglas Nigel Marlette’s enduring legacy is one of artistic brilliance, intellectual curiosity, and unwavering commitment to his craft. His contributions to editorial cartooning, literature, and education inspire and resonate with audiences worldwide. As his memory lives on through his timeless creations, Marlette’s influence remains indelibly etched in the annals of history.

1. Editorial cartoons are under pressure—his career is a blueprint

Newspapers have shrunk, opinion sections have changed, and cartoonists are often among the first cut. Yet the hunger for visual commentary has not disappeared—it has migrated online, into social platforms, and into meme culture. Marlette’s career shows what the medium can be at its best: a distilled argument with artistic authority.

2. He understood regional storytelling as national storytelling

American culture often reduces the South to stereotypes. Marlette did the opposite: he used Southern specificity to illuminate universal contradictions. That’s why Kudzu traveled. That’s why his novels found readers. That’s why his editorial cartoons could sting in any state.

3. He modeled how to be funny without being shallow

A lot of modern commentary confuses cruelty for courage. Marlette was a reminder that satire can be bold while still being rooted in human observation rather than performance outrage.

4. He crossed forms—without losing his voice

Cartooning, comic strips, musicals, novels: that range is not common, and it’s not accidental. It suggests a storyteller who didn’t treat media as cages, but as vehicles. The voice stayed consistent: Southern, skeptical, empathic, and sharp.

Adaptations

Film rights for The Bridge have been purchased by Paramount Pictures.

Sidelights

Fresh out of college in 1972, Doug Marlette became a senior editorial cartoonist at the Charlotte Observer. His talent quickly gained recognition, and by the 1980s, he had earned widespread acclaim as one of the nation’s leading political cartoonists. In 1987, he made a pivotal move to the Atlanta Constitution, solidifying his reputation with a Pulitzer Prize for editorial cartooning in 1988. While he eventually established his home base at Newsday in New York City, his cartoons found their way into over a hundred newspapers across the United States.

By his passing in 2007, Marlette’s work had expanded its reach, gracing the pages of publications such as Time, Newsweek, Christian Century, and Rolling Stone. Jerry Shinn, the editorial page editor at the Charlotte Observer, reflected on the source of Marlette’s appeal in an Esquire article, stating, “He produces powerful, straightforward, and on-target work that reflects an unwavering commitment to honesty.” “Shred This Book! The Scandalous Cartoons of Doug Marlette” is a compilation of 154 of Marlette’s political cartoons, lauded by People contributor Ralph Novak for their “unforgettable clarity.”

Many individuals who steer clear of the editorial pages may still recognize Marlette’s contributions through his syndicated comic strip, Kudzu, launched in 1981. Kudzu humorously depicts life in a quirky Southern town. The comic strips from Kudzu have been compiled in various collections, including titles such as “Preacher: The Wit and Wisdom of Reverend Will B. Dunn,” “Just a Simple Country Preacher: More Wit and Wisdom of Reverend Will B. Dunn,” and “Even White Boys Get the Blues: Kudzu’s First Ten Years.”

Kudzu Dubose serves as a semi-autobiographical character in Marlette’s work. He is portrayed as an awkward teenager yearning to escape the monotony and stifling atmosphere of his fictional hometown, Bypass, North Carolina. One of the standout characters in the Kudzu strips is Reverend Will B. Dunn, a somewhat dubious and self-serving figure who embodies some of the well-publicized flaws seen in certain televangelists.

Marlette, drawing cartoons since early childhood, also ventured into fiction. His debut novel, “The Bridge,” was published in 2001. This work, loosely based on his own life, narrates the story of Pick Cantrell, a political cartoonist. After a falling out with his big-city editor, Pick returns to his hometown, where he cautiously reacquaints himself with the community and must contend with his cantankerous grandmother, Mama Lucy.

He gradually uncovers Mama Lucy’s courageous actions during the 1934 textile strike. The Charlotte Observer correspondent Polly Paddock, described the book as “a captivating, well-crafted narrative that offers a fascinating glimpse into an obscure part of North Carolina’s history. It also proves that talent in one creative field can overflow into another.”

Paddock commented, “Marlette illuminates the story with a blend of humor and heartfelt emotion, his writing displaying grace and confidence, and his dedication to the workers’ cause is profound.” In the Library Journal, Thomas L. Kilpatrick observed that the novel “sheds light on an often-overlooked aspect of North Carolina’s history and strikes a perfect balance between humor and dignity.” Several reviewers also emphasized that the novel transcends the strike itself. According to Carol Haggas in Booklist, Marlette “skillfully portrays the intense familial connections that can either shatter or empower the human spirit.”

In his second novel, “Magic Time,” Marlette skillfully blends a coming-of-age narrative with the backdrop of the civil rights movement. The story revolves around Carter Ransom, a successful New York journalist, who returns to his hometown of Troy, Mississippi, seeking solace after enduring a mental breakdown. However, his homecoming takes an unexpected turn when he confronts the release of a man his father, Judge Mitchell Ransom, had once sentenced to prison for a church massacre involving African Americans and civil rights activists in 1965.

Meanwhile, Carter begins to suspect that his father may have concealed the truth to protect a family friend who could be the real culprit. Carter finds himself thrust into the media spotlight surrounding a new trial, where a local businessman, the former imperial wizard of the local Klansmen, is accused of the decades-old crime.

Donna Bettencourt of LibraryJournal praised Marlette’s work as “a powerful and eloquent novel that encapsulates all the emotions and turbulence of the early Sixties.” Other reviewers also lauded the book. A Kirkus Reviews contributor commended Marlette for setting “a harmonious tone, both glorious and profoundly moving” and for flawlessly capturing a period of monumental transformation, dubbing “Magic Time” an exceptional piece of Southern fiction. Carol Haggas, writing in Booklist, emphasized that Marlette’s second offering exudes majesty and intricacy, showcasing the finesse of a seasoned author.

Despite his untimely departure, Marlette’s legacy endures through his timeless creations and his indelible mark on the world of editorial cartooning and literature. His influence inspires aspiring artists and writers to fearlessly pursue their creative passions and use their voices to effect positive change in the world.

In honoring the life and contributions of Douglas Nigel Marlette, we pay tribute to a pioneering spirit whose work will forever resonate with generations to come.

Biographical and Critical Sources

Books

Doug Marlette’s “In Your Face: A Cartoonist’s Creative Journey,” published by Houghton in 1991, offers an insightful look into the world of cartooning.

Periodicals

• Booklist, March 15, 1993, Review of “In Your Face: A Cartoonist at Work,” Page 1341
• Booklist, September 15, 2001, Carol Haggas, Review of “The Bridge,” Page 193
• Booklist, August 1, 2006, Carol Haggas, Review of “Magic Time,” Page 42
• Charlotte Observer, October 17, 2001, Polly Paddock, Review of “The Bridge”
• Christian Century, August 28, 1985, Review of “Just a Simple Country Preacher,” Page 778
• Christian Century, July 1, 1987, Review of “There’s No Business Like Soul Business,” Page 604
• Current Events, a Weekly Reader Publication, September 30, 2005, Laura McClure, “Battle Lines: Political Cartoonists Take on Iraq,” Interview with the Author, Page 1
• Entertainment Weekly, January 24, 1992, Liz Logan, Review of “In Your Face,” Page 52
• Entertainment Weekly, September 29, 2006, Gilbert Cruz, Review of “Magic Time,” Page 87
• Esquire, December 1984, “Proud Performers; Entertainment, Sports & Style (Esquire’s Register),” Page 377
• Food Technology, Summer, 1992, Review of “In Your Face”
• Kirkus Reviews, August 15, 2001, Review of “The Bridge,” Page 1155
• Kirkus Reviews, June 15, 2006, Review of “Magic Time,” Page 595
• Library Journal, October 15, 2001, Thomas L. Kilpatrick, Review of “The Bridge,” Page 108
• Library Journal, August 1, 2006, Donna Bettencourt, Review of “Magic Time,” Page 72
• Los Angeles Times Book Review, November 3, 1991, Review of “In Your Face,” Page 18
• Los Angeles Times Book Review, December 20, 1992, Review of “Even White Boys Get the Blues: Kudzu’s First Ten Years,” Page 8
• National Catholic Reporter, May 12, 1989, William C. Graham, Review of “I Am Not a Televangelist! The Continuing Saga of Reverend Will B. Dunn,” Page 36
• Nieman Reports, Winter, 1991, Mike Peters, Review of “In Your Face”
• New York Times Book Review, November 4, 2001, Jon Garelick, Review of “The Bridge,” Page 32
• New York Times Book Review, October 29, 2006, Christopher Dickey, “Freedom Summer,” Review of “Magic Time,” Page 11
• People, June 1, 1987, Review of “There’s No Business Like Soul Business,” Page 18
• People, August 1, 1988, Ralph Novak, Review of “Shred This Book! The Scandalous Cartoons of Doug Marlette,” Page 32
• Publishers Weekly, June 29, 1992, Review of “The Before and After Book,” Page 65
• Publishers Weekly, August 6, 2001, Michael Archer, Review of “The Bridge,” Page 54
• Publishers Weekly, September 10, 2001, Review of “The Bridge,” Page 58
• Publishers Weekly, June 26, 2006, Review of “Magic Time,” Page 27
• State, October 18, 2006, Claudia Smith Brinson, Review of “Magic Time”
• Sun-News (Myrtle Beach, SC), October 15, 2006, D.G. Schumacher, “Tale Bridges 2 Periods: Marlette’s Story Draws Southern Town, People,” Review of “Magic Time”
• Tribune Books (Chicago, IL), December 29, 1991, Review of “In Your Face,” Page 2
• Tulsa World, January 29, 2006, Tom Droege, “World Hires Pulitzer-winning Cartoonist”

A Toons Mag closing note: how I think Marlette would want to be read

If you spend time with Doug Marlette’s work—especially Kudzu—you realize something: the man loved people even when he mocked them. That’s the difference between satire that lasts and satire that expires. He understood that America is ridiculous, yes—but also heartbreakingly sincere in its own self-mythology. His drawings didn’t just ridicule; they documented.

He won the Pulitzer in 1988, but the real prize is the body of work: the decades of public truth-telling, the fictional town that became a national mirror, the novels that proved he could carry moral history across hundreds of pages, and the influence he left behind in students and fellow journalists.¹⁸

Doug Marlette drew like someone who believed citizens deserved honesty—even if honesty made them laugh through gritted teeth.

And that belief still feels worth defending.

FAQ about Douglas Nigel Marlette aka Doug Marlette

Q1: Who was Douglas Nigel Marlette?

A1: Douglas Nigel Marlette, born on December 6, 1949, was a renowned American editorial cartoonist and author. He gained widespread recognition for his contributions to both the world of political cartoons and literature.

Q2: What was his most famous work?

A2: Marlette is best known for his famous comic strip “Kudzu,” distributed by Tribune Media Services from 1981 to 2007. This comic strip was beloved by readers and adapted into a musical comedy.

Q3: Did Douglas Nigel Marlette receive any notable awards?

A3: Yes, he was a highly decorated artist. Marlette became the first cartoonist ever awarded a Nieman Fellowship in 1981. He also won the Pulitzer Prize for Editorial Cartooning in 1988 and received the Robert F. Kennedy Journalism Award in 1997.

Q4: What were some of his notable books?

A4: Marlette’s literary talents extended beyond cartooning. He authored several books, including “The Bridge” (2001) and “Magic Time” (2006). His works often garnered critical acclaim and recognition.

Q5: What was Douglas Nigel Marlette’s impact on academia?

A5: Marlette served as a distinguished visiting professor at the University of North Carolina at Chapel Hill and was inducted into the UNC Journalism Hall of Fame in 2002. He also held a position as a Gaylord Distinguished Visiting Lecturer at the University of Oklahoma.

Q6: Can you tell me more about his personal life?

A6: Douglas Nigel Marlette and his wife, Melinda Hartley Marlette, split their time between residences in Tulsa, Oklahoma, and Hillsborough, North Carolina. They had a son named Jackson, and Marlette had a brother, Chris, and a sister, Marianne.

Q7: How did Douglas Nigel Marlette pass away?

A7: Tragically, Marlette died in a car accident in Marshall County, Mississippi. He was a Toyota pickup truck passenger who hydroplaned and struck a tree during heavy rain. This incident occurred while he was traveling to Oxford, Mississippi, to assist students in preparing for their performance of “Kudzu, A Southern Musical.” His death was a significant loss to the world of cartooning and literature.

Footnote

1. https://niemanreports.org/the-voice-of-independent-journalism ↩︎
2. https://niemanreports.org/doug-marlette-nf-81/ ↩︎
3. https://niemanstoryboard.org/2013/09/06/featured-fellow-doug-marlette/ ↩︎
4. https://www.pulitzer.org/prize-winners-by-year/1988 ↩︎
5. https://niemanreports.org/the-voice-of-independent-journalism/ ↩︎
6. https://www.latimes.com/archives/la-xpm-2007-jul-11-me-marlette11-story.html ↩︎
7. https://www.toonsmag.com/kudzu-comic-strip/ ↩︎
8. https://www.concordtheatricals.com/p/5773/kudzu-a-southern-musical? ↩︎
9. https://redclayramblers.com/kudzu-a-southern-musical/ ↩︎
10. https://www.washingtonpost.com/archive/lifestyle/style/1998/03/08/kudzu-on-stage-learning-to-drawl-doug-marlettes-cartoons-set-to-music/6722400e-245c-424c-ab69-da910206acb1/ ↩︎
11. https://us.macmillan.com/books/9780312426675/magictime/ ↩︎
12. https://books.google.no/books/about/Magic_Time.html?id=bijUhuJCvd0C ↩︎
13. https://niemanreports.org/the-voice-of-independent-journalism/ ↩︎
14. https://niemanreports.org/the-voice-of-independent-journalism/ ↩︎
15. https://niemanreports.org/doug-marlette-nf-81/ ↩︎
16. https://www.voanews.com/a/a-13-2007-07-11-voa65-66781192/565131.html ↩︎
17. https://www.pbs.org/newshour/show/pulitzer-prize-winning-cartoonist-doug-marlette-dies-at-57 ↩︎
18. https://www.pulitzer.org/prize-winners-by-year/1988 ↩︎