MAD Magazine, as we used to know it, is gone. However, what we still have is to be treasured. Due to a number of factors, it just became unsustainable to maintain the magazine. So, the idea now is to keep to a pared-down schedule that showcases various work from the past. It leaves room for some exceptions too like the amazing new cover art by visionary cartoonist Jim Woodring for the current issue. I just got my copy in the mail as part of my subscription. You can too by visiting MAD Magazine.
Alfred E. Neuman is the fictitious mascot and cover boy of MAD. Alfred’s first appearance was on a 1954 MAD paperback collection and on the actual magazine starting with Mad #21 (March 1955). Woodring pays homage to Alfred and all things MAD by having Alfred in the role of Zoltan the fortune teller. The fortune is a wry reference to MAD’s legendary fold-in back cover gags: “The Secret to Longevity is Not Folding In.” And, most fitting of all, is a 100th happy birthday wish to one of MAD’s greatest cartoonists: Al Jaffee, a regular contributor to the magazine for 65 years, the longest run ever, including his trademark feature, the Mad Fold-in.
Back in December of last year, Jim Woodring let his friends on social media know just what he thought about getting to do a MAD Magazine cover:
“If anyone in a position to know had told me when I was a boy that I would one day do a cover for MAD magazine I would have died of self-satisfaction right on the spot. Issue #19, due out March 2021 from DC comics.”
Each issue of MAD is thoughtfully curated following a theme. The theme for this current issue is The Future:
MAD #19 – MAD PREDICTS THE FUTURE
Gaze into the wonders of tomorrow, courtesy of yesterday’s MAD! It’s our far-flung future issue, in which we look back at the shape of things to come, including parodies of time traveling sci-fi flicks “Back to the Future” and “A.I. Artificial Intelligence.” Plus, MAD examines prognosticators like astrology, palm reading, and, just for good measure, a little MAD E.S.P with birthday boy Al Jaffee for his 100th year on this planet, and some new outta this world art by Tom Richmond! We predict there will be a new Fold-In by Johnny Sampson too! Materializing in stores APR. 13th!
Get your copy by visiting MAD Magazine right here.
When a comic decides to do a character as their act, it is making a commitment to one particular point of view, one particular persona. And, within that set of limits, there can be unlimited freedom. It is not for everyone since most comics have a healthy ego that demands undisguised attention. But some comics like an added artistic challenge, like Andy Kaufman. And so it is my honor to introduce to you, Smork Bolson. He is erudite, a bit out of touch, and ironically unironic. The comedy of Smork Bolson is mellow with sharp edges. This is a man seemingly of small words but maybe not. It just depends upon how long he is going to tolerate you.
The best way of looking at Smork Bolson is to not stare. Just look. Just listen. And let the comedy come to you. Deadpan. Droll. Maybe even a bit of steampunk–or maybe not. One thing’s for sure, Smork Bolson is not to be toyed with. He is serious about being serious and that’s what makes him hilarious. I hope you enjoy this conversation between Bolson and myself. I turned it into something like a card game as I had a stack of questions from which I drew from. It turned out to be a fun game and you might enjoy playing it with a friend. And getting back to our subject, be sure to stop by and check in on what Smork is up to at his new website. There are plans for puzzles, games and wordy amusements plus you’ll find a blog there too.
Penny: A Graphic Memoir. by Karl Stevens. Chronicle Books. 2021, 152pp. $19.95
As a cartoonist myself, and a longtime observer of the comics scene, I am utterly delighted to read this new book by Karl Stevens. It strikes all the right notes. And it will definitely do the same for you as a fan or newcomer to his work. Some of us in comics may indulge in hand-wringing over where graphic novels stand today as compared with the great boom in alt-comics nearly twenty years ago. But I say that things are evolving nicely in many ways. This book is a perfectly fine example of that. In fact, the audience for a good indie-spiked words ‘n’ pictures book is always going to be around and ready for the next worthwhile book. I think, in regards to Karl, he’s one of these very special talents who has found, over time, just the right set of factors to get to where he is now as an artist. This particular collection spans a good chunk of time as it was one of the last great comic strips to enjoy being published within the grand ole alt-weekly format (The Village Voice, The Boston Phoenix) that simply doesn’t exist anymore. This book is, in a sense, a testament to some glory days for comics. It’s certainly not lost on me that it is dedicated to the memory of Tom Spurgeon, one of the great advocates for the comics medium. Here you will find a sort of cat version of Little Nemo: an in depth exploration of the philosophical observations of a former alley cat-turned-house pet. Penny is one part enigma; one part uncanny entity; and one part one of us!
Born into a world she did not create.
I am going to push a little further on the notion of there being any of us cartoonists, or aspiring cartoonists, who might feel entitled to having their graphic novel project eventually picked up by a publisher. It’s best not to worry about such hypotheticals and just keep on truckin’. It dedication to the art of creating good comics that will have to rule the day. I look at all these pages of our hero, Penny, pondering existence, and it’s breathtaking, joyful, and inspiring. It’s a very beautiful feeling to be able to see your work all together, creating a whole. You don’t get there by bitchin’ and moanin’ that you’re entitled to anything because you’re not. And, sure, I suppose even folks who have never drawn any comics at all might fancy they’ll someday create a graphic novel. Well, it takes a special skill and a special drive to create something truly compelling and of lasting value. That’s why this book is special.
What dwells inside a cat’s head?
You start down a road of creating comics about a philosophical cat and you must get into this zone. I think, at some point, you lock onto the next page of bristol board, get to penciling, and, as if in a fever dream, you end up knocking out another completed page. And then, as another deadline looms, you do it again. And then again. Maybe, only after a while, you’re a little startled to find your main character has, by all counts, come to life. Arguably, still a work of fiction, without a need for sleep or being fed, but still alive: full of quirks, impulses, and contradictions. How does one, upon reflection, explain how Penny can be so relaxed and friendly towards a mouse one day only to revel in a good and bloody mouse kill the next? How does Penny justify being so jaded about cat toys one day only to be utterly mesmerized by cat toys the next? And, perhaps most chilling of all, how does Penny know how much her cat food costs? Yes, you start down a road and you find yourself sometimes with far more questions than answers!
Forced into an uneasy bargain tolerating humans.
Karl’s intricate drawing style is a perfect breeding ground for his droll humor. Most of us cartoonists are attracted to the droll like a cat to catnip. Within those lean deadpan lines and low-key watercolor washes lurks a cartoonist with a hearty appetite for the macabre and the obscure. It is the sort of humor that co-workers at some day job never understand or, more likely, only pretend not to understand. I am drawn to it and take the bait. I wonder about Penny. How can such a troubled soul be so easily baffled by mere shadows and yet comprehend the deepest levels of existential angst? With a flourish, as if flicking a mouse from one paw to another, Penny grieves over while also mocks all human activity and ostentation. Ah, mere mortals. Is the universe playing out within the skull of a house pet? That–and even more. This isn’t just a bunch of pithy wry jokes. This cat gets shit done. Penny even escapes her tender trap for a while. And who knows exactly what transpires when she finally responds to that portal and does enter another dimension.
Hold the phone, here’s the real Penny!
Is it a good idea to take Penny too seriously? It’s not like we haven’t done this to ourselves before. Sometimes, you just can’t help but want to overanalyze and who can really say if some things are just too precious not to give that added level of neurosis? The Marx Brothers. Krazy Kat. Why not Penny? So, yes, to Penny and yes, to Karl Stevens. Few cartoonists are in the same league as he is.
Can’t get enough of Karl Stevens? Then check out his work at The New Yorker. Find him on Instagram. And get your copy of Penny, published by Chronicle Books, and available as of May 4, 2021.
Alyson Chadwick is a standup comic and an activist. That keeps her busy balancing the funny and the serious. In this talk, we cover it all, including Paul Ryan and even Matt Gaetz! On the serious side, be sure to look up Paul Rusesabagina and his being kidnapped by the Rawandan government. You may know Paul from his story turned into the film, HOTEL RAWANDA. Paul did his part in opposition to the genocide of the Tutsi by Rawanda in 1994. Last year, Paul was kidnapped by Rawanda’s Kagame regime and is awaiting trial on false charges.
Garth Ennis has been writing comics since 1989. Credits include Preacher, The Boys and Hitman, with successful runs on The Punisher and Fury for Marvel Comics. As well as his own war series War Stories, Battlefields, and Dreaming Eagles, he recently revived the classic British aviation character Johnny Red, and has produced two series of World of Tanks for Wargaming.net. Originally from Northern Ireland, Ennis now resides in New York City with his wife, Ruth.
It is an honor to have the opportunity to discuss comics with such a notable comics writer as Garth Ennis. Even the most casual of comics readers will recognize the name behind such big hit titles as Preacher and The Boys. For this conversation, we focus on the exciting Garth Ennis titles being published by Dead Reckoning, particularly the newly collected, The Tankies. Any writer will easily relate to what Ennis has to say about growing up reading war comics. As a child, the only comics he could access back in Belfast in the 1970s was 2000 AD, a sci-fi anthology, and Battle, a monthly collection of the best British war comics. It was there that he read Charley’s War, a collected comic strip about a boy soldier who enlisted in World War I just in time to fight in the Battle of the Somme. What really struck Ennis was the veracity of these works. These were real stories about real people. It stood in stark contrast to fantastic themes he was reading elsewhere. And it stuck by him. Like any good writer, he has essentially been recreating what had the most impact upon him as a child.
For those of you who are longtime fans as well as new fans emerging from The Boys on Amazon, Garth Ennis has so much to offer the reader in incisive and highly engaging work. Our talk, in fact, pretty much focused on the collected Tankies as there was already plenty there to cover.
Stiles, the man you want in a clutch.
We discuss the main character of Stiles, an awful little man who redeems himself over and over again by leading his men into combat. Stiles may not be likable or pleasant but he knows what can and can’t be done on the battlefield. Stiles is the man. He is not much to look at but, in the end, he wins you over by sheer determination and integrity. And Stiles is the glue that holds together the three stories in The Tankies.
The Korean War. We forget it at our own peril.
As we progressed, we turned our attention to the Korean War. I pointed out that this trilogy of war stories could have easily been all from World War II. Ennis said that, by the time he came around to writing a third Stiles story, it became imperative to do a whole separate story set during the Korean War, a war that has somehow receded into the shadows of history. It’s a sobering thought to think such a war is sort of lost to history given it really had all the factors that could have led to World War III.
So, if you’ve read some Garth Ennis by now, I highly recommend his war stories and you will find a perfect selection of The Tankies, The Stringbags, and The Night Witches, over at Dead Reckoning.
Corporal Stiles, a rough and rowdy fella who is nobody’s fool.
The Tankies. writer: Garth Ennis. artist: Carlos Ezquerra. Dead Reckoning. 2021. 248pp. $24.95
All good writing provides a hook, a way into a story. War stories might seem challenging for unfamiliar readers since they might seem remote–but not if you have characters as alive as the action. Garth Ennis knows this well and it has resulted in numerous thrilling and engaging war stories. In the case of The Tankies, Ennis opens with a panorama of activity evoking the intensity and chaos during the Normandy invasion. After a good amount of blood spill, a leading figure emerges: Corporal Stiles. He’s a rough and rowdy fella who is nobody’s fool. Of course, some folks need convincing, like gunner Robinson who has Stiles pegged for a Geordie from New Castle. And what’s a “Geordie” supposed to be? Robinson is from the East End of London, a Cockney. And, as far as he’s concerned, Stiles is a lowly Geordie from the Tyneside area of North East England. Ah, the petty conflict amid the vast hell of conflict! And there you’ve got the bits and pieces that add up to a good hook!
Enter Corporal Stiles!
This collection of war stories features Stiles, who assumes the rank of sergeant throughout the rest of the book. And, of course, it’s the Tankies (nickname for the Royal Tank Regiment) that remain constant too. In the course of this series, Stiles leads his men from the battle for Normandy to the Nazi heartland; from the end of World War II to the killing fields of Korea. Did you ever read Sgt. Rock comics? Sgt. Rock was a DC Comics staple, created by Robert Kanigher and Joe Kubert. I think there’s a bit of that vibe here. Of course, Ennis is well steeped in all sorts of military comics from across the pond, namely, Battle Picture Weekly and War Picture Library. This has led to many fine war comics stories from Ennis with The Tankies as a prime example.
These stories will also appeal to you if you enjoy learning about world history. Ah, yes, through the marvel that is comics, you will quickly pick up numerous nuggets of insight all thanks to the tireless research done by Ennis. It is through the comics medium that you can absorb facts by the fistful. The Tankies provides the reader will a gripping narrative while all the time giving the reader a remarkable sense of time and place. The Brits, or “Tommy,” as the Germans mockingly called them, were at a major disadvantage with relatively inferior tanks compared to the sleek and virtually impenetrable Nazi counterparts. Within these pages, the reader will come to fully appreciate what an act of courage it was to climb into a relatively subpar Sherman or Churchill tank to do battle with such Nazi dragons as the Panther and the Tiger. It will send shivers down the spine. And it will have the reader rooting for Stiles and his men.
Boys will be boys.
A good war story, just like a good Western, is dependent upon a sense of authenticity and flesh and blood characters you can believe in. Without a doubt, Ennis delivers on both counts. Couple this stirring narrative with the exquisite art by Carlos Ezquerra (1947–2018) and you have an all-out winning combination of amazing storytelling. War comics, in general, are beloved by fans not only for their grit but just as equally for their humanity. Ezquerra literally puts a face to the action. If you are new to the genre or a seasoned aficionado, you find there is much to love in this collection. You will gain a better sense for World War II and the Korean War as well as the old adage that “war is hell.” So, take the journey with Stiles and his honorable men.
War comics at their best.
Be sure to visit Dead Reckoning, publisher of The Tankies as well as other Garth Ennis titles: The Stringbags and The Night Witches. All three of these titles add up to an outstanding showcase of war comics by Garth Ennis. As any comics and pop culture fan already knows, Garth Ennis is known for such titles as Preacher and The Boys. Well, it will delight fans of these titles to dig deeper, if they haven’t gotten the chance already, and learn the sort of history that you probably were not exposed to in high school and maybe not even in college. As for The Night Witches, this is an in-depth exploration of World War II from the Russian perspective and the view from the female Russian aviator at that! Also featuring bi-planes is the gripping story of The Stingbags. You will find out how antique planes do battle in a new generation’s war. This is war comics at its best.
I have interviewed Steve Lafler and I’m letting that sink in. The man is a walking encyclopedia of experiences and knowledge. I do hope we can chat again sometime. For a first interview, we covered a lot of ground. I was intrigued and delighted and I’m sure you will be too with this most provocative cartoonist.
Steve Lafler is a very cool cat–and, as promised, we’re about to take a deep dive into all things Lafler. Long before Zoom interviews, I’ve been taking notes and chatting with a good many talented folks. I think we cartoonists, at least a certain subgroup, are compelled to express ourselves in numerous ways. You’ll find, for instance, that comics and journalism have been entwined since the American colonies. In Mr. Lafler’s case, he has devoted a lot of energy in two directions, the love of comics and the love of music. In my interview, I try to focus on how Lafler has lovingly included music, especially jazz, into his comics.
1956: Sweet Sweet Little Ramona is Lafler’s latest title and we enjoy talking about it. The subtext is pretty much in the forefront: our main character, Ramon, seems to be most happy when he gets to be Ramona. Or, if not most happy, then it’s definitely a sweet joy to dress up and be a woman for the night. That said, the comics pretty much speak for themselves. Lafler, himself, has provided a few clues over the years that he enjoys indulging in some gender-bending dressing up. One must follow their muse! I think, with 1956: Sweet Sweet Little Ramona, Lafler beautifully expresses that most basic and primal human need to be true to one’s self.
1956: Sweet Sweet Little Ramona. by Steve Lafler. Cat-Head Comics. 2020, 56pp. $9.95
Adorable Ramona is sweet down to her toes. She also happens to be a guy. But, hey, no problem there say the fellas from the Garment District. Ramon, as Ramona, is just so delightful. So, no problem. Nobody’s perfect! That’s the punchline to 1959’s Some Like it Hot, by the way. The artist and writer Steve Lafler doesn’t actually use that line. In fact, his graphic novel is completely different from what goes on in the Billy Wilder classic. That said, there are definitely some similar elements at play. And perhaps the biggest theme is one recurring in just about every Lalfer book, that of music, specifically jazz, hot jazz! Since, after all, some do indeed like it hot!
Now, Steve Lafler turns out to be a very cool cat–and we’re about to take a deep dive into all things Lafler. Well, as much as I see fit to shoe-horn into this review. We’ll save some more for an interview with Steve Lafler next week. That sounds good, no? Lafler’s latest book, 1956, features a whole tableaux of goodfella types, all of them working various middle management jobs in the Garment biz, an industry with just enough of a glimmer of glamour to be suitable for these big city gentlemen. Lafler mixes the whimsical with the gritty. His style is clean lines in the service of a loose and street smart sensibility that brings to mind such greats as the Hernandez brothers and Kim Deitch. It’s quirky, idiosyncratic, and very much alt-comics. But that only makes sense since alternative comics are very much a part of Lafler’s scene. 1956 proves to be an utter delight.
The one thing I have come to understand from reading Lafler comics is that this is one devil-may-care dude who knows how to dish it out a la bohemian. I envy the ease with which he seems to glide through life. Maybe it takes one to know one. I know it’s not all peaches and cream. That’s part of the point. It’s about making the most of what you’ve got, living by your wits, and not taking anything so seriously that it hurts– except for family. You look out for your loved ones, right? Why do I digress so? I think Lafler just puts me in a very irreverent mood.
Now, take some of his other work and you’ll start to see some patterns. You’ll see that jazz motif bebop around. You’ll see some hard luck hound dogs–or bugs. And you’ll definitely see a lot of that joie de vivre thing we all want some of. You find it all wrapped in a bow in Lafler’s BugHouse, albeit tinged with the harsh realities of life in the big city. Yes, these bugs play a lot of jazz but they’re also prone to drug addiction. Sad bittersweet bugs.
Death Plays a Mean Harmonica
A more recent Lafler work is Death Plays a Mean Harmonica. I find this to be quite a masterpiece incorporating a healthy dose of auto-bio mixed in with everything that Lafler has learned about the uncanny world of comics. Lafler takes his own family’s decade living abroad in Oaxaca, Mexico, and turns it into the misadventures of Rex and Gertie and their two young children. Lafler let’s the good times roll with plenty of magical realism which includes a skeleton who regulars meets with Lafler while he’s asleep. They philosophize and, of course, enjoy playing music together. This serves as background for the main event. It turns out that Gertie is a secret superhero by night! Lots of fun! Bravo!
For more information, including comics, illustrations, paintings, and various merchandise, be sure to visit Steve Lafler.
Nate Powell is an American graphic novelist and musician. His 2008 graphic novel Swallow Me Whole won an Ignatz Award and Eisner Award for Best Original Graphic Novel. He illustrated the March trilogy, an autobiographical series written by U.S. Congressman John Lewis and Andrew Aydin, which received the 2016 National Book Award, making Powell the first cartoonist to receive the award. Powell’s latest book is Save it for Later: Promises, Parenthood, and the Urgency of Protest, published by Abrams and out April 6, 2021.
Today is especially newsworthy in connection with a Nate Powell interview as it was officially announced that Run, a new trilogy and a continuation of March will be coming out this August. Thankfully, Powell and I get to talk about that towards the end of this interview. Here is the news release today by The Associated Press:
NEW YORK — The award-winning series of graphic novels about congressman and civil rights activist John Lewis will continue a year after his death.
Abrams announced Tuesday that “Run: Book One” will be published Aug. 3, just over a year after Lewis died at age 80. As with the “March” trilogy, which traced Lewis’ growing involvement with the civil rights movement in the 1960s, “Run” features longtime collaborator Andrew Aydin and illustrator Nate Powell as they shape a narrative around Lewis’ reflections. Comic artist L. Fury will assist with illustrations.
“Run: Book One” begins after the signing of the Voting Rights Act in 1965.
“Lewis recounts the highs and lows of a movement fighting to harness their hard-won legal protections to become an electoral force as the Vietnam War consumes the American political landscape — all while the forces of white supremacy gather to mount a decades-long campaign to destroy the dream of the ‘Beloved Community’ that John Lewis, Dr. King, and so many others worked to build,” according to Abrams.
Lewis, Aydin and Powell shared a National Book Award in 2016 for the third volume of the “March” trilogy.
How do we get to where we want to be when it comes to social justice and related matters? Well, as Nate Powell points out in our interview, we need to arrive at a shared objective reality. That seems to be a tall order now in the disrupted and fragmented world we live in dominated by social media and tribalism. But if we don’t find a way back, we just add to our struggle. Powell brings up Nelson Mandela’s call for a return to truth in order to achieve reconciliation. And that’s at the heart of so much of the conflict and misunderstanding, intentional or not. This is an interview that focuses on Powell’s new book, a set of essays that explore the American landscape since the Trump era and beyond. Will we move on? In the big picture, we Americans have no choice. It all hangs in the balance, including democracy as we know it.
This interview is very special as I appreciate Nate Powell’s work as working at the highest level of what we expect in the best of comics and graphic novels. A select group of cartoonists can truly call themselves graphic novelists. A select group of cartoonists reach a point where they truly are the go-to folks we can rely upon for solid compelling storytelling. Nate Powell, without a doubt, is in that group.
So, I hope you enjoy this conversation. I hope it does all the good things that an interview can do: inform and inspire.
Save it for Later is available as of April 6, 2021. For more information, visit Abrams ComicArts.
Save it for Later. by Nate Powell. Abrams ComicArts. New York. 2021. 160pp. $24.99
Nate Powell provides a series of what I call “visual essays” for his latest book, Save it for Later. Powell, whether he intended to or not, is working in the tradition of essays going back to Michel de Montaigne (1533-1592). Montaigne was a philosopher who, in spite of or because of his erudition, knew how to write plainly and memorably. The sign of any good writing is that it sticks with you, akin to an absorbing conversation with an intimate friend. Essays are not meant to be perfect, although they do best if they ultimately have something meaningful to say, and achieve a clarity of purpose. Powell’s book is not perfect–and I’m glad it’s not. Powell manages to retain a certain level of rawness that adds authenticity. This is a real person who is just trying to figure things out, what’s best for him, his family, and his community.
A parent’s passion.
It’s a messy and complicated world–sometimes ugly (maybe more now than in recent memory). We live for only a pocket of time: perhaps we’re more aware of the ever-shifting present than ever before and mindful of the relatively recent past and future. In the big picture, we’re all here just for a blink of an eye’s time. And then we’re gone. Dust. No more. You’d think that would humble us. We’re too ready to pass judgement and condescend–somehow oblivious to the fact than none of us are going to leave this earth alive. Pretty heavy stuff. And then you throw in the role a parent plays in guiding a child, navigating a child through all the grown-up stuff going on. Let’s not forget there is plenty of joy to go around. You don’t have to be “privileged” to enjoy so much that life has to offer. But sometimes a parent feels a heavy burden to get it all right. One thing is clear in this book, Powell feels the burden and he takes it almost to the breaking point.
A child’s choice.
We cartoonists are born explainers. There’s something about us that compels us to jump upon the stage of life. We’re part artist, writer, journalist, and actor. This need to perform, act out, and explain is genuine and natural. I can clearly see that Powell is driven to make his time count: make the most of his talents, make a difference. That heart-felt desire is undeniable. It is that kind of energy that fueled what he was able to accomplish with March, the trilogy exploring the civil rights movement with Rep. John Lewis and Andrew Aydin. In fact, March figures prominently in Powell’s new book. It is ever-present, not only guiding Powell but influencing the lives of his two children. How does the cartoonist who was a part of such a consequential work address questions of race? How do we feel confident that he’s conveying an honest picture of himself? It’s not easy! I think what really helps, and to Powell’s credit, is the use of what I call “the counter-narrative.” Right alongside Powell’s main narrative, he has moments that depict another viewpoint like when his older daughter, at age seven, admits she sometimes goes to protest rallies because she thinks that is what her father wants her to do.
Two generations co-existing.
Let me share with you how the issue of race was addressed in my family when I was child. Basically, in the 1970s, in my household, it was never explicitly and formally addressed the way it is now in vogue to do. Certainly, race came up as a subject to talk about but it happened very organically: randomly and without pretense. That had something to do, maybe everything to do, with my coming from a biracial background: my mom was Mexican; my dad was Anglo. Both are now deceased. And, if they were both alive and cognizant, I imagine they’d have a well-earned laugh over some of what they’d find to be an excess of sensitivity on display today. Where were all the well-wishers when we needed them? It’s an interesting question. For Powell, he is focusing on his being white and the burden he believes he has. Powell believes that white children should not be afforded an extended time of innocence since non-white children never had such a privilege. There’s plenty to unpack there and fodder for much needed discussion.
In the shadow of a giant.
As a child, I also know for a fact that I became political all on my own, and after a relatively extended time of relative innocence (kids are less innocent than adults generally care to admit). I know that I was certainly curious about the news by age ten and picked it up in earnest by age thirteen. Looking back on it, I see no harm, no foul on that count. I don’t blame my parents for any apathy or neutrality over issues of the day. I think my mother suffered enough, as I did by extension and in my own right, from countless forms of racism. And I don’t think I would have benefited from any critical race theory workshop. That said, we need to be willing to talk it all out and think it all out as much as possible. We often seem to forget how important it is to make our actions count. After all, we’re only here for a small pocket of time.
Make some “good trouble.”
So, how does the cartoonist who was a part of such a consequential work as March address questions of race? It’s one step at time! How does one move in the shadow of such a giant as John Lewis? With purpose! Nate Powell, without a doubt, has created a work of honesty and bravery with his latest book. Yes, bravery because amid all the coded language and distraction, there remains that veiled, and not-so-veiled, threat of violence. It’s like you are being dared to be true to yourself and stand up to the current batch of hate crime bullies. These are bullies that John Lewis understood very well in his time. Sadly, his pocket of time is now over. The baton has been passed on to another generation. We may collectively stumble along the way but, as John Lewis would say when you see something that is not fair: “Find a way to get in the way.” Powell has learned from the best.
Save it for Later is available as of April 6, 2021. For more information, visit Abrams ComicArts.