According to his biographer, George Rey, White Collar is largely autobiographical except the artist did not lose his house to foreclosure.

Misery was on all sides of us. Uncertainty and fear pervaded everywhere, and I, who had just left Art School, could not find a job. …A conversation with a neighbor who had lost his house convinced me that if labor was more united it could vote unanimously for politicians who would bring about a happier state of affairs for all of us. But in this area I realized that the principal division seemed to be between white collar and blue collar workers, the former traditionally not wanting to be considered workers;

In the introduction to the 1975 edition of White Collar (Celestial Arts), Patri speaks about the Depression Era and the origins of the idea for his book.

Like Lynd Ward, Patri used orange ink to print the hero’s interior thoughts.

David Beronä in Wordless Books, The Original Graphic Novels; Beronä, David A., 2008 points out four important aspects of White Collar:

  • the blatant use of words on buildings, flags, etc,
  • page design,
  • use of Christian icons and symbols, and
  • dream sequences.

Some dealers say the story is made up of 122 linocuts, others have said 128. If you have the patience, please count the images and advise.

In addition to the three editions of 1939/1940/1941 there are at least the following:

  • 1975 Reprint by Patri – Celestial (Ten Speed)
  • 1987 Private edition?
  • 2007 Col Blanc Zones french pub.
  • 2016 Dover Publications