Editor’s Note: This book is ready for pre-order purchases. Available in the US as of 11/09/21.
Tenderness is a feast of a novel. This is easily one of the best current reads. And it all has to do with what once was an obscure novel nearly killed in the cradle. Many people have at least heard of Lady Chatterley’s Lover, by D.H. Lawrence, originally published privately in 1928 and finally made available in 1960 after an infamous obscenity legal battle in the UK and the US. Oddly enough, even after surviving the courts, this most misunderstood of novels was nearly killed again in a self-imposed academic attempted murder by feminist scholars because of what they deemed as certain less than enlightened depictions of some female characters in the novel. It is a case of cancel culture from another era. Today, the novel has well cleared the hurdle of extinction. At this writing, Netflix is in production for a spectacular new film version starring Emma Corrin (The Crown) as Constance Chatterley. Now, back to the novel in question. Tenderness explores the world of Lady Chatterley primarily from the inner world of the author and the behind the scenes tug-of-war between killing and saving the book. This culture war is led by FBI Director J. Edgar Hoover on the side to suppress, and future First Lady Jacqueline Kennedy on the side to save.
1960: Lady C helps usher in the Sexual Revolution! Keystone/Getty Images
The hallmark of any great historical novel is how it juggles many points of view. One of the paths this novel cuts is political. Jackie Kennedy is a classic icon: familiar while shrouded in mystery. There is nothing officially documented about Jackie Kennedy in support of Lady Chatterley but, for the sake of this historical novel, she makes for a perfect advocate. MacLeod places Jackie in attendance at a 1959 public hearing on Lady C which, in turn, results in an FBI surveillance snaphsot of her that sets in motion a whirlwind of clandestine activity by Hoover and his henchmen to bring down JFK’s presidential bid. Anyone who knows anything about Lady C, or has actually read the book, knows that this novel has as much, or more, to do with political power than with sex. Clearly, Jackie is the ultimate symbol of a political bedfellow. In 1960, Jackie was still closer to the limited world of Lady C, trapped in her own sexless marriage. The only power a woman in her position could rely upon was found through marriage. And the only control a man could rely upon over a woman, at that time, was through marriage. It is the institution of holy matrimony that is threatened by Lawrence’s controversial novel. That is actually the most “obscene” thing in the novel any detractor could say against it.
The day in 1960 when Lady Chatterley’s Lover was published after a long legal battle. Derek Berwin/Getty Images
MacLeod’s love for literature rings true in this novel which acts as a love letter to Lady C and great fiction. As any masterful writer knows, one of the most appealing aspects of embarking upon a novel is the opportunity to treat it as a vast canvas upon which you can paint your greatest passions. This passion for storytelling is brought out in the character of Dina, an ancestor to friends of the family of D.H. Lawrence, and a budding literary scholar. It’s more than a good chance that Dina stands in as an alter ego for MacLeod. It is through Dina that MacLeod can express her greatest admiration for Lawrence’s landmark work, both erudite and heartfelt. It may have been only a matter of time before just the right author came along and channeled D.H. Lawrence. Tenderness was to be the original title for Lawrence’s novel as it gets to the heart of his theme that we inevitably must give way to the demands of the body. MacLeod honors that theme with her invigorating book.
A Revolution in Three Acts: The Radical Vaudeville of Bert Williams, Eva Tanguay and Julian Eltinge. By David Hajdu and John Carey. Foreword by Michele Wallace. Columbia University Press, 2021. 166pp, $19.95
This is an extremely remarkable comic, at once a historical look at the great and hugely popular genre of vaudeville, and a treatment of the margins, racial and gender, that pushed closer to the surface than radio or films would reach before the 1950s. David Hajdu is a distinguished music critic and a professor at Columbia University. His artistic collaborator, John Carey, less well known, worked at Greater Media Newspapers for decades. Neither has produced a comic until now, but Hajdu wrote an insightful history of comics entitled The Ten Cent Plague, more than touching upon the condemned but lively elements of popular culture.
Bert Williams, “the son of laughter” in contemporary advertising of Vaudeville, was almost certainly the first native of the little island of Antigua, then still in the British West Indies, to make himself a major star in the US. He sang, danced, told jokes, charmed (white) audiences far and wide, and became himself a producer of shows starring himself. He exhausted himself and died young, just as he reached his apex of success.
Eva Tanguay is remembered for one phrase, “I Don’t Care!” hailed by Andre Breton and the surrealists as capturing the spirit and radical possibilities embedded within popular culture. Flagrantly transgressive, she challenged every limitation of the lingering Victorian culture, dressing outlandishly, for instance, wearing pennies glued to a revealing body suit at the moment when the Lincoln Penny was introduced and fleeing when the police arrived to arrest her. She joined Williams on stage and drove audiences wild.
Cross-dressing Julian Eltinge completes this narrative. By way of Harvard and Hasty Pudding, he starred as a female performer, singing and dancing up a storm. Holding nothing back, he openly proclaimed his sexual passion for a black man (doublng the provocation), with himsef as “The Sambo Girl,” on stage and in the sheet music of the day. The very idea that Eltinge could publish a magazine under his own name offers a transgressive moment in time and in the rising pulp magazine craze.
The genius of the comic intertwines the stories, sharing the threats of the cops and other thuggish males. Tanguay and Williams were widely rumored to be lovers, but the rumor that she was to marry Eltinge inspired no limit of mean-spirited satire (“who will wear the breeches?”) and some good spirited as well. But movies, even without the severe restrictions to come later, were just too limited for this leap out of propriety. (Bert Williams was also in several film shorts, but these are lost.)
The Art of Revolution in Three Acts finds John Carey perfectly suited with a greyish, sketch-like style, offering a kind of fluidity suitable to the subject. He aspires neither to realism, in the ordinary sense, nor to the altogether imaginative comic-art style adopted or adapted in modern “art” comics. Rather, it is his own.
The high spirits of these three characters, the visions they had of themselves and the crushing reality of a world unsuited for them, comes home collectively as we follow their lives. Eltinge, an entrepreneur in his own mind, bought a large chunk of land in California’s Imperial Valley, with a vision of a resort and a theatrical complex. He was quickly overextended, when a film showed his female impersonation at a disadvantge: society was not ready, although in failure, he inspired other stage female impersonators across the US and Europe. Tanguay, perhaps the luckiest, had a series of prominent affairs, passing before she could complete a tell-all memoir.
The Last Mona Lisa. Jonathan Santlofer. Sourcebooks. 2021. $27.99
It was back in 1987 that I made my first visit to Paris, which included viewing the Mona Lisa. My more recent visit was in 2019. I can tell you that the ’87 visit was not like the uber-spectacle it is now. It wasn’t even in the same location. As I recall, it was a huge square of a space and the Mona Lisa was housed in a booth that made me think of a carnival fortune telling machine. The gatherings of people were left to do as they pleased and behaved like instinctively polite starlings. People seemed to know just how to behave! Now, it’s like a cramped and narrow airport terminal with everyone jockeying for position, queued up for a few seconds of viewing, and then directed off by guards. Really, I’m not kidding. Anyway, I had to say that because I figure it will strike a chord with some of you and it’s a perfect opening observation to a book that I believe would satisfy a lot of the curiosity out there for the mega-famous painting. The book is entitled, The Last Mona Lisa, by a truly captivating writer, Jonathan Santlofer. I’ve been intrigued by Santlofer for some time as I’ve observed how well he’s done as both an artist and a writer. I was quite moved by his memoir and that led me to check out some of his crime fiction, which is a lot of fun. His new book takes his skills and passions and distills them into an urbane thriller that will stay with you just like a memory of your favorite dinner overlooking a beautiful sunset. So, yeah, it’s that kind of book. In fact, if it’s not already, it should be stocked in the Louvre gift shop. And, yes, the museum is now open, albeit with health restrictions. Also, I should add here, this is a book that is ideal for any book club as you may imagine.
Mona Lisa Mania!
The Last Mona Lisa is about the greatest museum heist of them all, the theft of the Mona Lisa by a Louvre museum guard in August of 1911. It was a sensation in newspapers all over the world and catapulted the Leonardo Da Vinci painting to world-famous masterpiece status. Santlofer takes that story and weaves a narrative that explores the inner life of the thief, the frustrated artist Vincent Peruggia, and present day attempts by his great-grandson, Luke Perrone, along with a rogue INTERPOL detective among others, to unravel the mystery behind the details of this most unusual museum heist caper. All this investigating leads to the possibility that the real Mona Lisa was never returned to the Louvre and now some people will stop at nothing to get the real thing. Among the various subplots, it’s the story of Luke, the great-grandson of the original thief, that leads the way, neck and neck with following the drama of Vincent, the thief and aspiring celebrated artist.
It’s fun to follow Luke’s progress as an unlikely hero who grows into his role as a sleuth. He stumbled upon the story of his infamous great-grandfather when, as a boy, he’d been tasked with cleaning out the family attic. One look inside a chest reveals the tell-tale mugshot of Vincent Peruggia which triggers a lifelong obsession with finding out the truth about the thief of the Mona Lisa. Fast forward to the present and Luke finagles his way to gaining access to a rare books section in a prominent library in Florence, Italy. It is there that he becomes involved with a mysterious beauty, a striking blonde who just so happens to be pursuing her own scholarly search at the same table that Luke is camped out at. This, of course, sets in motion some of the key elements needed for the romantic thriller that ensues.
Santlofer paints a portrait of Vincent Peruggia as the classic malcontent would-be bad boy artist who just so happens to fall into the company of Pablo Picasso and other notable figures of the Parisian art scene, like Max Jacob. Vincent Peruggia is no Vincent van Gogh! Instead, he’s a somewhat competent artist of the most obvious subject matter like pretty still life paintings. He’s resentful of the avant-garde cubist work by Braque and Picasso which he dimly understands. Vincent is the Lee Harvey Oswald of the art world, destined for infamy.
The Mona Lisa was indeed “stolen” in 1910, a year prior to the famous 1911 heist.
The building blocks to Santlofer’s novel are all true. The Mona Lisa was, in fact, “stolen” a year prior to the celebrated heist by Vincent Peruggia. Santlofer provides a news clipping of the story that sort of just came and went in 1910 but, without a doubt, documented a robbery of some kind. It’s a fine piece of detective work on Santlofer’s part as it doesn’t readily come up on a casual internet search. For whatever reason, that story ended up an odd blip without a follow-up. Nothing was ever officially said again about any theft. Not until the story that would not go away, the celebrated story of 1911. It is this incongruous situation with the ignored “theft” of 1910 that has fed countless rumors and conspiracy theories. It is this stranger-than-fiction phenomena that was just waiting to be plucked and processed into Santlofer’s latest delightful page-turner.
For more information, and how to buy this book, go to Sourcebooks.
ENCYCLOPAEDIA OF HELL II: The Conquest of Heaven, A Demonic History of the Future Concerning the Celestial Realm and the Angelic Race Which Infests It
Martin Olson. Illustrations: Tony Millionaire & Mahendra Singh. Feral House. 2021. 224pp. $24.99
Martin Olson is one of the best humorists around. Olson is known around Hollywood as one of the nicest and most hard-working of comedy writers. His special brand of satire has made its way to numerous comedy series on HBO, CBS, Showtime, Comedy Central, Disney, and FX. His last book was the critically-acclaimed Encyclopaedia of Hell, which includes a road map for a full-scale demonic invasion of Earth. Now, Olson tops himself with a sequel, The Conquest of Heaven, with Satan leading a coup of Heaven to replace God. Olson’s wry and relentless humor echoes Mark Twain and Ambrose Bierce.
Lord Satan dreams the Hell Cosmos.
This much-anticipated sequel picks up where Olson left off, writing again in the voice of Satan, we follow the Dark Lord’s latest scheme. Conquering Earth was mere child’s play when it comes to taking on the Almighty’s digs. And it’s not long before Satan runs into some difficulties.
After Hell’s army conquers Insignificant Earth and devours the human race in a celebratory feast, Lord Satan reveals that he will now journey deep into the universe to find the throne of the despised Creator. There Satan will depose God and take his rightful place as Emperor of Existence. Now, the secret sauce to making the story work hinges upon the voice of Satan. Again, that’s where the comparisons to literary giants like Mark Twain and Ambrose Bierce come into play. These guys satisfied that career high of nailing it, getting to channel Satan, as it were. And so Olson returns to those dizzying heights with his new book. Let’s dig in and see how he does it.
Lord Zyk battles the ghost of Abra Kadab.
First, you need to establish the character and, in Satan’s case, we’re talking about both a sophisticated creature and an egomaniac at an astronomical level. Satan is supposed to be all-knowing. But he’s also arrogant and pompous. Olson’s Satan maintains an other-worldly tone, full of regal turns of phrase and douchebag observations. In this excerpt, Satan has just set hoof on Heaven:
Yes, it was all Heavenly. All exactly what I hated.
I had come prepared with eye filters to screen out hideous beauty like the fountain. But I was unprepared for the audio component poisoning the air around me. Each festoon of flowers resonated with a different vibratory tone. Together, they emitted a hideously majestic symphony, a loathsome atmosphere of perfect harmony. Its precise overtones made my ears bleed. When I inhaled, the flowers’ sweetness produced cognitive dissonance with the natural filth that composed my lungs. I swooned, heaved deeply, and vomited the remains of a virgin I’d eaten into the azaleas. It was confirmed: perfect harmony was an unbearable toxin to my soul.
Satan is not exactly an easy guy to accomodate, even under ideal conditions, and here he is on arguably his greatest quest. Determined to discover the origin of his own creation, and to murder God, Satan must endure a series of obstacles in God’s Library akin to Alice in Wonderland, as well as match wits with a demented nun. And that’s just part of it, all leading to the shocking secret at the core of Creation. Could it have something to do with Satan? There’s a very good chance of that. To add some extra spice, there’s some other characters thrown into the mix like the equally pompous Lord Zyk and the wayward demon, Abra Kadab. The main thing is the journey which Olson masterfully keeps moving along. In this excerpt, Satan is dueling with a possessed book which has just lopped off his head. He’s later surprised to find out which book he’d been fighting:
Using a combination of my teeth and the vicissitudes of momentum, I climbed up my leg and torso until I reached the bloody stump of my severed neck. Through rapid licking, I then self-cauterized the wound, reconnecting my head to my body, and glared down at the culpable book.
Ironically, or perhaps not, the book that had decapitated me was a novelty edition of my own repugnant masterpiece of evil, Encycolpeadia of Hell, its ancient cover splattered with rose-red, black and purple coagulations of my royal demon blood.
What else might stand a chance against Satan but the very book prior to Olson’s latest misadventure with Satan? This kind of humor will delight readers of any age. Just think of vintage MAD Magazine. Sure, for the youngest readers, there’s the obvious parental discretion to keep in mind. This is, after all, a most unabashed Satan we’re dealing with here. The fangs. The claws. And everything else is all hanging out. But no risk of any exorcism! Honestly, if your kid is reading this, you can thank God that the kid has got good taste.
The more one digs into the comics medium, the more it rewards you as an immersive world of the mind. You can lose yourself in it as much as any other art form. Christopher Sperandio has taken quite a deep dive into re-working vintage public domain comics just as you would any other kind of “found art.” Check out some of his work on his Instagram. He is genuinely mesmerized by it and respectful of all the souls, many truly unsung heroes, who created the work in the first place. That said, when Sperandio hit upon a cache of original Mexican comic book pages at a public market, he knew right away that this wasn’t just another canvas upon which to recontextualize. This was something special that needed to be called attention to. Sperandio’s long and distinguished career features work that explores the interconnections between mass and museum culture. Sperandio teaches at Rice University where he specializes in working with the comics medium. He recently put together at Rice an arts lab, the Comic Art Teaching and Study Workshop (CATS) and this book is part of that.
A typical copy of Micro Suspenso, #305, circa 1968, 4 1/2 x 3 inches.
A mysterious packet of ink drawings sitting in a stall in a public market in Mexico City. At that point, the fate of these drawings, half a century old, was utterly dependent upon who might take notice of them. So, it’s something of a miracle that this set of drawings would catch the interest of the most ideal buyer. This bundle of originals was created by Julio Camarena for the comic book series, Micro Suspenso. There was no cover but the comic book could be dated to circa, 1970. The story, oddly enough, is entitled, “The Last Buyer.” With Sperandio’s purchase, this little batch of comic book art had fallen into academic hands and, as it turned out, Sperandio was to be the last buyer of this work prior to his immortalizing it in this book. To add a touch of intrigue, the originals were stolen and probably destroyed.
Julio Camarena is plucked from obscurity and joins the world of academia.
And so Julio Camarena, an obscure Mexican cartoonist, finds his work the subject of an academic study. Well, that’s just the beginning. As I mentioned, Sperandio has a working method that involves linking popular media to museum culture. And that is precisely what this purchase of drawings set into motion. We come back to the idea of a playground for the mind. When you stop and think about it, comic books (particularly strange and offbeat comic books) and museums, are both prime venues for some deep thinking, the stuff that dreams are made of! Sperandio developed his project step by step, bringing together the people and resources he needed under the CATS arts lab. In time, he had what was needed for an installation as well as a book.
From the pages of a comic book…
…to the gallery walls of a museum.
As a work of comics, “The Last Buyer” is more than just competent; it’s a guilty pleasure in the best sense. Right away, I was intrigued by the characters and their hint of Mod style sense. And who doesn’t like a good horror story about a possessed car? I’m Mexican-American, and I do read Spanish but not without some effort. I mean, the words don’t just jump out at me as they do in a work of comics in English. That sense of words jumping out is magical and it’s not happening when I’ve got a work of comics in Spanish. For the Camarena stash to fully function as a work of comics for a now predominantly English-speaking audience, the darn thing would need to be properly translated within the comic itself with the Spanish text replaced by English. There are notes at the back of the book with an English translation but that’s just not the same. That said, it’s a fun read. It is masterfully worked out, especially considering the tiny format that was common for these “micro-comics,” pocket-sized comics meant to be read on the way to work or in some less than rarefied environment. That said, of course, this set of drawings has totally become a creature of rarefied environments.
Page excerpt from “The Last Buyer.”
So, what’s so special about this stash of original comic book art that has been taken out of its natural habitat, as it were, and placed under a microscope? First, it’s a learning opportunity, right? Sperandio gets to share some of the history of Mexican comics and he even, early on, gets a chance to demonstrate how unfairly maligned the comics medium has been. His quote from 1999 by noted art critic Rosalind Krauss is priceless. When asked at a public lecture at Princeton University for her opinion on the comics medium, Krauss said the form was “unredeemable.” Ouch! Well, that was over twenty years ago and, I dare say, the general sentiment has changed. As for this stash of Mexican comics in particular, Sperandio is making the case that, yes, this little bundle of obscure comics is a historic and artistic artifact. And, while the originals are now gone forever, the originals had been properly digitized and so can now live on in print, as they were always intended to do. Sperandio, “the last buyer,” managed to pass on a little treasure to all sorts of future buyers, those who buy into the comic medium’s hard-won fight for credibility.
Where all this gets most interesting is in tracking down the one and only Julio Camarena, the cartoonist behind these mysterious comics. Camarena is given his due. He is not presented as some exotic but as the creative professional he was, part of a tradition, part of history. This is the moment when, if you were binge-watching on Netflix, the payoff is finally delivered. Sperandio has gotten to comment on Camarena. A contemporary cartoonist has provided his observations. And a professor of Spanish and Latin American Literature has held court– and even quoted a scholarly report that concludes Mexico and Japan are the world’s only true comic book cultures. All very interesting but now Camarena speaks about Camarena! And, like any long-awaited moment, it’s a little poignant and also a little anticlimactic. Camarena loved his work, has no regrets, and has little patience with looking back. He was interviewed a couple of years ago by Mexican cartoonist Augusto Mora. It’s a wonderful exchange between the two creatives. Camarena sounds to be very savvy about the comics market. He simply doesn’t take himself too seriously or put his work upon a pedestal. He makes a comment towards the end that he regrets that Mexican publishers began to dabble in cheesecake pin-up comics in an attempt to boost sales. That went against their core family audience and so it was no surprise to Camarena when that phase of comics tanked. Ironically, the only photos of Camarena have him showing some of his pin-up work. It’s actually rendered quite well, in a classic tradition but, apparently, he didn’t have his heart in it. No, his heart was in the work he was a part of for most of his life, stories that enthralled readers across a wide spectrum. It was a magical time, a time for all kinds of stories whether historic, romantic, adventurous, or even supernatural.
Cartoonist Julio Camarena
So, did Sperandio’s examination of the Camarena stash of drawings stretch and pull it well past anyone’s intended purpose? Okay, sure, but it was all worth it! Indeed, this book is a ticket to play in the playground of the mind. Seriously, this is a most welcome addition to comics scholarship in general–and Mexican comics in particular. We can already find a number of books that gravitate to pretty familiar subjects like Los Bros Hernandez. Sperandio goes further and provides us with some much needed insight into the roots of Mexican comics and culture. This quirky book is a wonderful exploration of many things, not the least of which is the playground of the mind.
Early in this latest Jerome Charyn novel there’s quite an evocative scene of a bohemian living room which includes a framed print of Paul Robeson. It is a telling detail that gives a taste of how a character lives and breathes in their world. In this case, we’re being made privy to the inner world of the estranged wife of playwright Eugene O’Neill. As a creature of the theater, and as a free thinker, it makes sense that she’d enjoy a portrait of a trailblazer of racial equality. All the more so given this was one of her husband’s greatest plays! It’s just a quick little reference but a tick of information that the reader makes note of. It is these ticks of information that accumulate and bring a picture into focus. It is these ticks of information that add up in this novel to give us an in depth look at one of our most celebrated of writers, J.D. Salinger, one who preferred not to be looked at in any close measure.
But Charyn dares to make “Sonny” Salinger the prime focus. To start with, Charyn brings the reader front and center into Salinger’s relationship with Oona O’Neill, the infamous daughter of Eugene O’Neil. Oona was only 18 years-old when she married Charlie Chaplin, who was 53. Truth being stranger than fiction, Salinger and Oona did actually date for a while. Charyn gives us a charming look into what that might have been like: more a frenzied exchange of hormonal excess than raw passion but, something to write home about, nonetheless. The whole affair is capped off by a masterful scene which involves Sonny and Oona obligingly having dinner with Walter Winchell as he holds court at his reserved table at the Stork Club. There’s much talk about Winchell’s chicken burgers. Mostly, there’s much talk about what’s the talk of the town, given Winchell’s prized roost as the leading gossip monger and media kingmaker. Winchell has everyone eating practically right out of his hand, except for the most stubborn like Ernest Hemingway, who makes a delicious cameo at Winchell’s table.
Utah Beach, D-Day Normandy Landings, June 6, 1944.
In keeping with the novel’s title, much of the action sees young J.D. Salinger doing his duty as an American WWII draftee assigned to the Counter Intelligence Corps, a band of secret soldiers who trained with the British. If that sounds complex and full of intrigue, well, it is. We find Salinger is witness to the whole Slapton Sands debacle where American soldiers, training for the D-Day Normandy invasion, become human targets, shot by British “friendly fire.” While that is being covered up, nearly lost to history in every real sense, Salinger moves on to the real thing and lands with a second wave on Utah Beach on D-Day all the way to Paris. There, he meets Ernest Hemingway who encouraged his writing. All the while, Salinger goes from one incident after another interrogating Nazis and collaborators. Ultimately, Sonny Salinger witnesses firsthand the atrocities of the Nazi concentration camps, where corpses are piled high one upon the other.
No one can blame J.D. Salinger for going through one existential crisis after another. Talk about someone too close to a subject to be able to get some perspective and see the full picture! Here is a man who made his wildest dreams come true and then went on to live a life of the deepest regret. What if Sonny Salinger had managed to convince Oona O’Neill to run off with him and somehow he’d also found a way to avoid the draft? That was never going to happen! Each of them had stars in their eyes and were in mad pursuit of something greater than themselves. And Salinger would never have avoided the draft, it just wasn’t an option. It was definitely not a foregone conclusion that The Catcher in the Rye would ever be published either. But so it was. J.D. Salinger did not invent the contemporary teenager but his book caught on like wildfire as an emblematic work about quirky, neurotic, youthful rebellion. There it was–and still is. The great American novel at its most popular! Since it publication in 1951, it remains a bestseller at astronomically high numbers for book sales. Since it was first published in 1951, more than 65 million copies of The Catcher in the Rye have been sold. Around 250,000 copies of the book are sold each year, almost 685 per day. This is not what Salinger wanted. And yet it was profits from just this one book alone that allowed him to brood in seclusion for decades. The book that should never have been published–but was. To this, Charyn has an answer.
The Catcher in the Rye
If there is one thing that makes a case for the inevitable nature of Salinger’s celebrated novel it is his war experiences. This makes up the bulk of Charyn’s novel which places Salinger in numerous trials and challenges. Charyn is a master at creating haunting moments. He lays one upon the other and deftly makes his case. In so doing here, Charyn answers the question of how it was meant to be for Salinger to write that novel that unwittingly summoned the world. One such moment finds Sonny confronting a special Nazi bicycle brigade. One night, he spots one of these killers, in his rain cape and in his hunter’s cap. The reader can’t help but picture that strange image of a young man wandering the city in a hunter’s cap in Salinger’s novel. That same image is on the original paperback version of The Catcher in the Rye. Sonny witnesses the killer in his hunter’s cap shoot two of his friends at close range, execution style. Sonny, more an interrogator than a marksman, immediately responds and shoots the killer dead.
Back on Park Avenue…
Ultimately, Sonny Salinger must return to civilian life, to where he left off before going off to war in the first place. It means creating some distance to all things related to war, except for the greater truths that make sense for his version of the great American novel. At least that seemed to be what mattered most for a time and he would see it through. Sonny would pick himself up. He was back on Park Avenue, back on track to pursue his literary dreams, at least for a while. And so Charyn brings the reader up to this point. Sonny now has time to observe something other than horror. Sonny now can ponder, with his sister, Doris, the mysteries of a basement floor walker at Bloomingdale’s. Sonny now can ponder the mysteries of bananafish. And, in time, as if inevitable in more ways than one, Sonny can preside upon the unleashing of a literary and pop culture phenomenon, the story of a troubled teenager in a hunter’s cap.
Comics Grinder has always got you covered for interesting tidbits, insights, and suggestions regarding comics, pop culture, and culture in general. Here are some quick suggestions for discerning Comics Grinder followers:
I’m going to keep this simple and jump right in with 10 items for your consideration beginning with Wes Anderson: The Iconic Filmmaker and his Work, by Ian Nathan, an “unofficial and unauthorised” yet stunning tribute to the beloved filmmaker. 176-page hardcover with deluxe slipcase, fully illustrated. $35. From White Lion Publishers, an imprint of The Quarto Group.
Next up will please any fan of D&D, especially younger players or anyone who enjoys a trading card style description of characters. This is Beasts & Behemoths, the fifth and latest installment in the Dungeons & Dragons Young Adventurer’s Guide series. It is by Jim Zub, Stacy King, and Andrew Wheeler. 112 pages, full-color illustrations. $12.99. From Ten Speed Press and Penguin Random House.
Moving right along, this book will need to be in your kitchen and bar as soon as possible, whether you’re a D&D fan or not yet. Welcome to Heroes’ Feast: The Official D&D Cookbook. Yes, now you can eat and drink like a hero. There are recipes here for everything from Honey-Drizzled Cream Puffs to Sembian Honey-Glazed Rothe Ribs to Bytopian Shepherd’s Bread to Roll Rum! Seriously, this is an impressive cookbook with lavish illustrations alongside charming and meticulous D&D factoids and insights. If you’ve been looking for a way to hook yourself into the world of D&D, then seek out this cookbook. Fully illustrated. 240 pages. $35. From Ten Speed Press, an imprint of Penguin Random House. Quite honestly, this is the best gift for 2020 on so many levels.
If you are a fan of Critical Role, then you are in very good company as this is one of the most popular role-playing game communities ever. Now, you can join in on all the fun and get all you’ve ever wanted to know about this fantasy RPG livestream phenomena in one deluxe book, The World of Critical Role: The History Behind the Epic Fantasy, by Liz Marsham and the Cast of Critical Role. Just like the name suggests, go deep into this world with up-close and personal features on all the talent involved. Critical Role was established in 2015 by a group of friends with a passion for storytelling and has evolved into a multi-platform media company with a variety of shows, comic books, graphic novels, animation, podcasts and more. Its epic adventures and memorable characters attract millions of viewers live every week. Yes, this is a big deal and, if you’re new to it, then all the more reason to get this book. This is a 320-page fully-illustrated hardcover, $35. From Ten Speed Press, an imprint of Penguin Random House.
Let’s shift over to the Star Wars universe and a most compelling book indeed. For anyone who cares about quality storytelling, and enjoys Star Wars lore, this is a perfect gift. From a Certain Point of View: The Empire Strikes Back is an anthology celebrating the 40th anniversary of The Empire Strikes Back with forty acclaimed science fiction writers. You will find such gems as Hank Green chronicling the life of a naturalist caring for tauntauns on the frozen world of Hoth. Or about Charles Yu’s quirky look at what it’s like to be in Darth Vader’s death grip? So much to enjoy here. So kick back with a Roll Rum and get into some serious Star Wars storytelling. This is a 564-page hardcover, $35. From Del Rey, an imprint of Penguin Random House.
It’s impossible not to like the hilarious work by Yehuda Devir and Maya Devir with their comics adaptation of their everyday lives. It all began as a fun spoof on young married life. Yehuda would draw. Maya would art direct. Next thing you know, these candid illustrations went viral on social media. Welcome to One of Those Days, a collection of these funny and touching illustrations that just about anyone can relate to. This is a 272-page full color hardcover, $30. From Penguin Random House.
Dbury@50 Celebrates 50 Years of Doonesbury
Garry Trudeau’s Doonesbury has been around for fifty years and it’s time to celebrate. Enter, Dbury@50: The Complete Digital Doonesbury, from Andrews McMeel Publishing, priced at $125. This includes a 224-page “user manual,” a poster, and a thumb drive which includes what looks like a little website presenting all the comic strips on a per week basis. The fifty-year milestone celebratory package takes readers through each year of the strip, providing historical context and featuring key storylines, and proves to be a valuable first step in preserving a significant comic strip for future generations.
Another huge property is anything and everything to do with Frank Herbert’s monumental novel, Dune. Was it ever really meant to be more than a novel? Well, how about a graphic novel? The answer is yes and no. Apparently, it takes more than one graphic novel to properly attempt to cover the novel. Enter, Frank Herbert’s Dune: The Graphic Novel, Book 1. It offers a good mix of the cinematic and more cerebral that should satisfy true believers and newcomers alike. This is a 176-page hardcover, $24.99. From Abrams ComicArts.
If anyone tells you that they’ve finished reading XX, the new mammoth novel by Rian Hughes, they are lying to you. This work clocks in at 992 pages. It actually weighs in at almost 3 pounds. Isn’t that close to the weight of a newborn baby? No, the average weight is around 7 pounds. Okay, I don’t want to overstate this. What I do want to say is that the book is huge and sometimes big books come with a lot of hype. In this case, we have an art house book with a lot of type, as in fancy footwork with various fonts. This is supposed to be a glorious melding of the literary arts with the graphic arts from a master designer. I’m not sure that I’m buying all that. If you are looking for something really compelling and unusual that is playing with the literary and the visual arts, you may still need to go back to 2000 and House of Leaves by Mark Z. Danielewski. That said, I’m still working on this mountain of a book and the basic story hasn’t really hooked me in yet. I’d love to know what you think if you have indeed made it to the end. This is a hardcover, $26.43. From Abrams.
How much do you like Batman? I love me a good Batman story, but I mean something really good. Well, a lot of good things came from Batman: The Animated Series. The higher-ups at the Big Two Publishers can be a mysterious bunch but, when they prioritize, they can achieve remarkable results. Look, iconic characters like Batman are only as good as the creative team behind a certain project. What made Batman: The Animated Series work out so well was the creative team led by Bruce Timm back in the early ’90s. It seems that Timm set the gold standard and it has been honored ever since. I have yet to see a subpar DC Comics/Warner Bros. animated feature. The book, Batman: The Animated Series, honors all that hard work and dedication with stellar artwork. Enjoy. This is a 144-page hardcover, $60. From Insight Editions.
Friends: The Official Cookbook. by Amanda Yee. Insight Editions. 2020. 176pp, $29.99. And $44.99 for the GIFT SET which includes a Friends apron.
Did you know there’s an official Friends cookbook? It’s not directly in response to the unofficial Friends cookbook but, let me tell you, that one was very disappointing for one particular reason. That book didn’t incorporate the show enough into the recipes! Wow! You would think that’s TV fandom 101! Of course, you must make such a cookbook relevant to the show you are paying tribute to, right? Am I right? Of course, I’m right! Seriously, this book is the real deal, a perfect mix of pop culture and foodie goodness. And now you can get the book or the special gift set which includes a Friends apron!
Friends. Friends. And More Friends. Can’t Have Enough Friends!
I don’t know about you but I always felt there was a bit of a subversive thing going on with Friends. It was, or it seemed to me, pretty self-concious that it was treading water, a sitcom for the post-modern era that really had nothing new to offer so it would revel in that fact and not in an ultra-clever way like Seinfeld but in a mainstream way, in a way that it could have its cake and eat it too. In other words, it wasn’t out to make a statement or even be especially funny. To me, Friends was amusing, meant to be utterly escapist and fluffy comfy. And so it all adds up, in a weird but fun way, as a show waiting to be turned into a cookbook! Anyway, the book is jam packed with quite an assortment of very practical recipes with intelligent tie-ins to specific episodes. You could actually give this to someone and they could very easily live off eating food prepared from this book for a year, maybe indefinitely. It’s that good a cookbook! Who knew, right?
Definitely Not Vegetarian Lasagna! Yes!
Of course, I gave this a try!
Now, this is one serious cookbook filled with one recipe after another! Check out Definitely Not Vegetarian Lasagna! Yes! Well, of course, I had to give this a try and, if I do say so myself, I achieved excellent results!
And get a Friends apron too!
And, of course, with Thanksgiving just around the corner, this book has got you covered with a sumptuous holiday dinner recipe. Perfect! For this post, I was a bit less elaborate but not by much. So, yeah, I chose to make a lasagna dish from the book to start with and I encourage you to do the same. It actually was a lot of fun and I’m not exactly new to cookbooks. I’ve tried my fair share of them. I think the book, like the show, is oddly amusing while also quite attractive. The layout and design is very upbeat and engaging. Any fan of the show would find that book and show are in sync. That said, I highly recommend you get yourself a copy. And, if you were wondering, yes, Insight Editions does have other pop culture themed cookbooks for you to choose from. Just go visit Insight Editions right here.
Insight Editions’ Friends: The Official Cookbookis one of the bestselling cookbooks of the year. Now, fans of Friends can enjoy the book’s 100+ recipes and an exclusive, new-to-market Friends Apron in the FRIENDS: THE OFFICIAL COOKBOOK GIFT SET(Insight Editions; 11/10). The gift set is on-sale today!
The Official Friends Cookbook. New for 2020, Friends: The Official Cookbook is the freshest officially endorsed Friends cookbook and features dozens of full-color images and delicious recipes from the beloved hit show. With over 100 recipes, readers will learn how to master Monica’s Friendsgiving Feast, Rachel’s Meat Trifle, Just for Joey Fries, Chandler’s “Milk That You Chew,” Phoebe’s favorite Faceless Foods, and of course, Ross’s Moist Maker.
Gift Set Includes Exclusive Turkey Apron. Not available anywhere else, this high-quality apron features adjustable straps, a large front pocket, and Monica’s iconic holiday turkey recreated in glorious full color.
Maybe like me, you grew up with Walter Foster books. In the ’70s, when I was a boy, these oversized (old Life Magazine format) books were already wonderful relics from a bygone era, most dating back two or three decades. I knew, right away, that they came from another time and place but they were so well put together and the instruction seemed so crisp and clear that I just loved them even if I had no idea how I was supposed to take that information and become a famous cartoonist in New York or a famous animator in Hollywood. No matter. That could always be dealt with sometime in the future. These same Walter Foster books have been reprinted many times over filling the heads of countless people of all ages with fanciful dreams that may or may not ever come true. It didn’t seem to matter. The books themselves were so wonderful! I have been looking at a recent book from Walter Foster, now an imprint at Quarto Publishing Group. It is a classic and brings up a lot of happy memories, Cartoon Animation with Preston Blair.
Cartoon Animation with Preston Blair
Animation with Preston Blair is a fine example of the lineup of Walter Foster books from Quarto in a contemporary trade paperback format. Preston Blair, born in 1908, was trained in fine art and illustration and went on to become a leading animator at Disney. Blair animated such famous work as the Hippos dance in “Dance of Hours” and Mickey Mouse in “The Sorcerer’s Apprentice,” both in 1940’s Fantasia. Blair is also known for his work at MGM, most notably his animation with Tex Avery. And he is also known for his work at Hanna-Barbera for The Flintstones. Blair offers plenty in the way of lively and inventive examples.
A page from Cartoon Animation with Preston Blair
Upon a closer examination, it’s clear that this book is a treasure trove of samples and guidelines to inspire an artist at any level. A book like this will help get you on track because it makes no pretense and gets to the heart of the matter: page after page of straightforward drawing. And new animators will appreciate plenty of examples of anatomy, perspective, and various movement along with timeless principles.
From Cartoon Animation with Preston Blair
Combining two previous titles, this manual is organized into six chapters covering cartoon construction, character development, movement, animation principles and animated acting. The retro drawings alone are worth the modest price for this 128-page fully illustrated book. Solid instruction never goes out of style and is timeless. This is recommended for all ages.
For more details, visit Quarto Publishing Group right here.
WISCONSIN FUNNIES at Museum of Wisconsin Art (MOWA)
Wisconsin Funnies. Catalogue edited by Terry Ann R. Neff. Exhibit co-curated by James P. Danky, J Tyler Friedman, and Denis Kitchen with contributions by Paul Buhle. Museum of Wisconsin Art. 2020, 248pp.
Get your own copy of the Wisconsin Funnies: Fifty Years of Comics exhibition catalogue. This fully illustrated 244-page catalogue features more than 150 comic illustrations by thirty-one renowned comic artists. Available at the MOWA Shop in West Bend, MOWA | DTN inside Saint Kate—The Arts Hotel or online right here.
The Real vs. The Ideal, ink on bristol, by Lynda Barry, 1989.
I have nursed a habit, that became a way of life, that became a saving grace. Specifically, for the purposes of this post, I am referring to my own lifelong work in the comics medium. Being a cartoonist really is something very special. It is something so special that all sorts of interested parties want to be part of the magic and that includes all sorts of academic types, galleries and museums. That is all to the good. Comics is still a relatively young medium in some respects so anything that spreads the word can’t be all that bad, right? Comics is an art form, owing so much to countless American contributions and around as far back as there’s been a United States, only now getting the sort of recognition it deserved all along. We can’t, nor should we, include every single shred of work ever made but we have a great bounty of examples to hold up as bona fide works of significance and value. The art show currently on view at MOWA (extended to January 9, 2021) is another step forward. Let’s take a close look at the museum catalogue.
Frank O. King’s Gasoline Alley, page from 1922.
It takes a historian’s perspective to look at Wisconsin and explain all the comics activity there as having a lot to do with Chicago. Well, it’s true. A hundred years ago, Chicago was a home for newspaper empires with a high demand for cartoonists. This is made abundantly clear in Paul Buhle’s essay to this catalog. If a young cartoonist wanted to make it big, a very good place to hone their talent would be in nearby Wisconsin. Keeping to a historian’s long view, we come to understand that comics got baked into Wisconsin bohemian culture. By the 1960s, it was so much a part of the local art scene’s DNA to make you think you were sipping wine and munching on croissants in Paris, where they embraced comics, the Ninth Art, with great fervor as opposed to your average American, especially a corn-fed citizen right in the heart of farms and honest working folk. All sorts of factors simply added up over time. For one thing, never underestimate a cartoonist’s need for peace and quiet. A more methodical pace can lead to a more cerebral and productive life. Wisconsin native Frank O. King, who made the big move to Chicago, showed the way with his deceptively simple comic strip honoring Americana, a comic strip which was also amazingly innovative, Gasoline Alley, which debuted in the Chicago Tribune in 1918. Take a look at the example above and you might see how this highly stylized format would have influenced another master of comics, Chris Ware. Along with King’s trailblazing work, add Sidney Smith (The Gumps), Claire Briggs (Casper Milquetoast), and Carl Anderson (Henry). For an in depth look, read Paul Buhle’s Comics in Wisconsin.
From Denis Kitchen, Star Reporter, 1972.
When you consider what gives a certain place its character, you must think about its guiding forces. One such consequential force of nature in Wisconsin is Denis Kitchen. This is the story of an enterprising young cartoonist who bought some farmland in Wisconsin and converted the barn into a comics studio. From here emerged Kitchen Sink Press, the legendary comics publisher. In 1973, Kitchen joined the back-to-the-land movement and converted a barn in Princeton, Wisconsin and all sorts of comics emerged, underground and mainstream alike. Kitchen was in a position to continue to grow as an artist himself as well as publish the work of other artists and help them out when he could.
From Buddha Crackers by Michael Newhall, 1977.
Michael Newhall, one of the indie cartoonists in the area, rented a space at the Kitchen barn for $50 a month or, given that he was perpetually cash-poor, would pay Kitchen with a work of art each month. While Kitchen would be the first to joke around about whether there truly existed an underground movement or if it was all just a bunch of hype, there was no doubt that numerous like-minded souls gravitated towards each other. For example, Kitchen includes in the MOWA show a portrait of some of the leading cohorts of that era: Denis Kitchen, Don Glassford, Jay Lynch, Jim Mitchell, Wendel Pugh, Bruce Walthers, and Skip Williamson. Of course, that is just one snapshot of some of the creative folk at the time. Other cartoonists that were part of the scene in one way or another included Peter Loft, Mark Morrison, Peter Poplaski, Trina Robbins, John Porcellino, Lynda Barry, and even R. Crumb. Plus many others. Since Denis Kitchen is also an art dealer and collector, he also includes in his collection the work of some of the all-time greats of past eras like Al Capp, Will Eisner, Will Elder, Ernie Bushmiller and Milton Caniff. All these names are part of this amazing show at MOWA.
A Short History of America, serigraph by R. Crumb, 1993.
The catalog for the show does a great job of presenting the subject of comics in both an insightful and irreverent way. One thing all of us art lovers can’t help but address is what is it that we really want to see. What will it be that compels the viewer to seek out the museum in the first place? While this or that movement will come and go, at the end of the day, the actual human being who is investing time and energy to view an art show will have a significant say in what works advance and, over time, are bestowed with greater legitimacy. It may not always be a work invested in identity. It may not always be a work of raw and simple quality. Or a work of realism.
From Kings in Disguise, script by James Vance, art by Dan Burr, 1988.
From Alice in Watergateland by Bill Sanders, 1974.
From Dreams by Leilani Hickerson, 2011.
From Wildcat Bill From Grizzle Hill by Marty Two Bulls Sr., 2013.
What it will be, one hopes and expects, is work that best represents the comics medium. That, of course, needs to be carefully considered by those in a position to keep the ball rolling. That said, by presenting as wide a variety of thoughtfully selected work, MOWA does a great service to comics. Now, getting back to the catalog, if you want not only a taste of some of the best comics from the last fifty years, but also a fascinating look at the counterculture over the years, then this is the book for you. For an exploration of a particularly notable zeitgeist, running from the late 1960s to early 1970s, turn to a wonderful profile in the catalong of Denis Kitchen by James P. Danky. If there ever really was an underground comix scene, Denis Kitchen would certainly know.
The Bugle, cover art, ink on bristol by Dan Burr, 1975.
Danky follows the history of American underground newspapers, beginning in 1964, with a parallel narrative to Kitchen’s own career, starting with his leap into publishing in 1969 at the age of 23. Over the years, Kitchen became part of undergound comix history. In 1970, for example, R. Crumb invited Kitchen to publish his next comic, Home Grown Funnies. That title proved to be Kitchen’s all-time best-selling comic book, eventually totaling 160,000 copies. Among the landmark work that Kitchen published was some of the best graphic novel work by Will Eisner, including securing the rights to Eisner’s seminal work, A Contract with God. Kitchen would go on to develop The Bugle, his own contribution to underground newspapers. He would go on to other notable ventures, like his partnering with Stan Lee for Comix Book. The rest, as they say, is history–with much to share. For instance, much of the artwork for this art show comes from the collection of Denis Kitchen.
From Will Elder’s Goodman Beaver Meet S*perm*n, 1962.
So, with all the amazing achievements accomplished by cartoonists, why would any serious cartoonist who, by all rights, has created art, ever question whether they have truly created art? Because there are countless people who get in the way for countless reasons. Maybe their mother didn’t love them enough. For example, you have people from various other disciplines who suddenly lurch their way into the comics bandwagon. You have critics and academics who do it, not from sincere interest, but because it can seem like an easier way to gain attention and prestige. This results in more and more blathering from a pretentious echo chamber. No art form deserves this. Then there’s the more straightforward elitist prejudice against an art form from those in the establishment. The best example of this is the ongoing war between fine art painters and the artists who work in the comics medium, part of the larger highbrow vs. lowbrow war. Of course, hip painters are hip to hip comix, but I digress.
A typical comics blowhard. Excerpt from Chicago Sun-Times Sunday Magazine, by Jay Lynch, 1976.
And, by the way, if you think for a second that my referring to pseudo-intellectual blathering is just something I’m pulling out of thin air, I have news for you. It goes on all the time. Your typical review at The Comics Journal, for example, has perfected this posturing tone, a mix of hyperbole and odd use of language. And I’m really not sure for what purpose. It seems that many who aspire to something great get caught up in their own web of stilted expression. It brings to mind a scene in one of the comics on view at MOWA. It is an illustration by Jay Lynch for the Chicago Sun-Times Sunday Magazine, 1976. In one corner you see a pudgy middle-aged man wearing a cartoon wig. He is trying to impress a sexy woman in a Playboy bunny outfit. He drones on about his doctoral thesis on Ernie Bushmiller’s comic strip, Nancy. He states: “the basic tenets of Bushmiller’s cosmology are to 20th century man essentially what Manichaeism must have been to your typical Albigensian.” I can see that a work of profound beauty, like Nancy, can inspire someone to overreach with the most curious of prose. But does it help advance the cause of comics? I only drag The Comics Journal into this because I know these folks can take it. In fact, one might argue that the quirky attitude at The Comics Journal can be traced back to the subversive humor of cartoonist and editor Harvey Kurtzman, who is included in the MOWA show.
From You Had to Be There: George Mosse Finds Himself in History, art and text by Nick Thorkelson, 2014.
Getting back to the hi-lo wars, Photography had to run the gauntlet and prove itself a legitimate art form up against Painting. And, today, a lot of painters are intimidated and in awe of photography as well as video. For comics, it seems like there’s still a bit of a problem about making proper room for it at the great Art table. This is a problem that doesn’t have to exist if common sense were allowed to rear its ugly commoner’s head.
From One Flower Child’s Search for Love by Trina Robbins, 1972.
That brings us to this show currently on view at MOWA. I sincerely believe that the biggest obstacle to understanding comics in the United States (because I don’t believe this dysfunction really exists elsewhere) is a disingenuous notion that comics need to be on some “separate but equal” plane outside of other art forms; or comics require experts to explain how to properly read and appreciate it. No doubt, thoughtful discourse is welcome but a lot of it comes down to common sense too. Some work meets the highest of standards and some doesn’t even come close and has not earned a place of honor. Some comics are so simple it seems like any child could have made them. And some comics are highly sophisticated and unquestionably demonstrate the work of a master.
From King-Cat Comics and Stories #75 by John Porcellino, 2015.
At the end of the day, a comic can tell you a lot if you’re willing to simply share some time with it. The MOWA show is an excellent opportunity to spend some quality time with some exceptional comics.
Get your own copy of the Wisconsin Funnies: Fifty Years of Comics exhibition catalogue. This fully illustrated 244-page catalogue features more than 150 comic illustrations by thirty-one renowned comic artists. Available at the MOWA Shop in West Bend, MOWA | DTN inside Saint Kate—The Arts Hotel or online right here.
Kitchen Sink Press Headquarters, Princeton, Wisconsin, ink on bristol by R. Crumb, 1985.