"It is, in the truest sense, post-modern. There is no center, no moral, no constant beyond the idiot-savant bliss of Krazy Kat. It's about a century ahead of its time, which explains the current interest, and it's an indictment of the newspapers of today, which no longer regard the comics page as an appropriate place for avant-garde strangeness. If Herriman lived today, he would have to seek out an obscure place on the Internet, or self- publish his strip in fanzines."
Joe Bob Briggs (aka John Bloom), world's foremost Drive-in Movie Critic.
"In Krazy Kat the poetry originated from a certain lyrical stubbornness in the author, who repeated his tale ad infinitum, varying it always but sticking to its theme. It was thanks only to this that the mouse's arrogance, the dog's unrewarded compassion, and the cat's desperate love could arrive at what many critics felt was a genuine state of poetry, an uninterrupted elegy based on sorrowing innocence. In a comic of this sort, the spectator, not seduced by a flood of gags, by any realistic or caricatural reference, by any appeal to sex and violence, freed then from the routine of a taste that led him to seek in the comic strip the satisfaction of certain requirements, could thus discover the possibility of a purely allusive world, a pleasure of a "musical" nature, an interplay of feelings that were not banal. To some extent the myth of Scheherazade was reproduced: the concubine, taken by the Sultan to be used for one night and then discarded, begins telling a story, and because of the story the Sultan forgets the woman; he discovers, that is, another world of values."
Umberto Eco, translated from the Italian by William Weaver, from "The World of Charlie Brown", ©1963 Umberto Eco[