Bob Ecksteinis an award-winning writer, New Yorker cartoonist, cartoon editor, and author of The New York Times bestseller Footnotes From the World’s Greatest Bookstores. His cartoons, OpEds, and short stories appear regularly in The New York Times, New York Daily News, MAD magazine, Barron’s, Readers Digest, The Spectator, Prospect, Wall Street Journal, Playboy, Atlas Obscura, LitHub, among many others. He was a columnist for The Village Voice, New York Newsday, and TimeOut New York. He has been interviewed in over 100 TV, radio and magazine spots including Good Morning America and People magazine. He was selected Erma Bombeck Humorist of the Month. It was a pleasure to get to chat with Bob about his “series of happy accidents” that have led him to such a multi-faceted career.
New Yorker cartoon by Bob Eckstein
Becoming a regular contributing cartoonist to The New Yorker was a fluke at first. It all began while Bob was in the process of gathering up New Yorker cartoons having to do with snowmen for his book, The History of the Snowman (2007). This led to having lunch with legendary New Yorker cartoonist Sam Gross. At the lunch, Sam encouraged Bob to visit the office and submit a batch of ten cartoons for Cartoon Editor Bob Mankoff to look over. At first, Bob was hesitant but he finally warmed up to the idea. As it turned out, one of his cartoons was accepted. It was something of a miracle, beginner’s luck, and it would take many months before another cartoon was accepted but the die was cast. Bob Eckstein had embarked upon a career as a gag cartoonist at a time when there were still plenty of magazines accepting gag cartoons.
New Yorker cartoon by Bob Eckstein
Fast-forward a few more years, Bob Eckstein has moved on to creating books. In recent years, he has created Footnotes from the World’s Greatest Bookstores (2016), The Illustrated History of the Snowman (2018), The Ultimate Cartoon Book of Book Cartoons (2019), and Everyone’s a Critic: The Ultimate Cartoon Book by the World’s Greatest Cartoonists (2019).
The Illustrated History of the Snowman by Bob Eckstein
Postcards inspired from the book, Footnotes from the World’s Greatest Bookstores.
From Footnotes from the World’s Greatest Bookstores by Bob Eckstein
Footnotes from the World’s Greatest Bookstores by Bob Eckstein
Bob Eckstein spent seven years traveling the world researching and attempting to answer the age-old question, Who made the first snowman? and is the world’s leading snowman expert. He has spoken publicly on the subject at many venues like The Grolier Club, Milford Theater and the Cooperage Theater.
It’s no surprise that a quest to understand the snowman would take a circuitous path. In Bob’s case, it somehow led him to becoming a cartoonist for The New Yorker! And then there’s Bob’s love of independent bookstores. That journey led him to not only create a New York Times bestseller, Footnotes From the World’s Greatest Bookstores, but it also led to him editing what has become a series of New Yorker cartoon books. As Bob told me, the idea behind both The Ultimate Cartoon Book of Book Cartoons and Everyone’s a Critic: The Ultimate Cartoon Book is to present the very best cartoonists. Themes are important but, in the end, it’s all about the quality, the artistry, and a certain sensibility. Mr. Eckstein has done a wonderful job of showcasing that magical blend of talent.
You can listen to part of our conversation by clicking the link below:
Gahan Wilson was, in many respects, the ideal cartoonist for distinctive, wild and funny cartoons in the leading magazines of the day, National Lampoon, Playboy, and The New Yorker. I just got news of his passing. I had donated to a GoFundMe campaign for his care and received updates from his son, Paul Winters. The announcement begins: “The world has lost a legend. One of the very best cartoonists to ever pick up a pen and paper has passed on. He went peacefully – surrounded by those who loved him. ” Since I do my best to travel in various relevant circles, I did end up having the pleasure of meeting Gahan Wilson. I was in that famous green room that The New Yorker kept as a holding pen for cartoonists awaiting to see the legendary cartoon editor, Bob Mankoff, back when The New Yorker was located in rather cramped, but thoroughly charming, offices in Times Square. So, I kept putting off going in to see Bob since I wanted to soak up the atmosphere. I got a chance to chat a bit with old-timers and new emerging talent. As an artist-writer-cartoonist, I was there with a legitimate batch of cartoons but I was mostly there just to be there since a visit to New York wasn’t something I did regularly. Anyway, there was Gahan Wilson. He was quietly seated on one of the big sofas. This was circa 2005. Gahan smiled and asked to see my cartoons. He nodded and picked out the ones he liked. “Good luck, kid,” he said. It was shortly after those words of encouragement that another cartoonist suggested I should go in before I missed my chance. For some reason, there was no list. You just went in. Very informal. So, I went in and Bob was Bob. In other words, he batted me around like a piñata. Before I knew it, I was done. In the end, Bob offered words of encouragement too. After that, I took one last look over to the green room. Gahan was there, smiling, very quiet, observing as a good cartoonist does, probably thinking up his next deliciously diabolical and weird cartoon. Oh, I had signed a waiver when I had first arrived. Apparently, I had picked the day that a documentary on Gahan Wilson was being filmed. It was released in 2013, Gahan Wilson: Born Dead, Still Weird. And, if you happen to see it, you’ll see me in Bob’s office getting a thrashing, all in good fun, but a thrashing none the less. Funny thing is that I didn’t mind it at all, which is what a good cartoonist does. And how can one complain when in the presence of such greats as Bob Mankoff and Gahan Wilson? You just don’t. You’re grateful for the moment in this fleeting life. Rest in peace, Gahan.
Robert Sikoryak, aka R. Sikoryak, is an artist that I’ve always admired. You have probably seen his work grace the cover of issues of The New Yorker or maybe you know him from one of his comics adaptations of literature classics. He’s best known for featuring his virtuoso adaptation of masters in the comics medium in the service of a satirical work, like Masterpiece Comics. Another great example is the recent Terms and Conditions, an ambitious and hilarious comics adaptation of the iTunes contract we all must agree to but never bother to read.
NEW YORKER COVER
Robert Sikoryak was formerly an associate editor and contributor to RAW, the groundbreaking 1980s comic anthology. He has also drawn for The Daily Show with Jon Stewart, The Onion, and Nickelodeon. During a recent visit to New York, I got a chance to interview Mr. Sikoryak about a number of things, including his ongoing Carousel, a revue, going back to 1997, that features a number of notable cartoonists such as Lauren Weinstein, Michael Kupperman, and Jason Little who present their work as part of a slide show performance. It is my pleasure to present to you the following interview. A video portion is also available and you can access that below too.
Illustration for The Nation by R. Sikoryak
Read the interview below and do make sure to go to the video as well which covers different aspects, specifically Mr. Sikoryak’s early career. All in all, as I said to him, his 30+ year career adds up to such an impressive professional life. I like to bring out the term, “legend,” but Sikoryak would not hear of it! He’s very modest, indeed. And quite generous in sharing insights. I’ve done numerous interviews and do my level best to respectfully bring out the best in those individuals I have the privilege to interview because, for me, it’s a sacred trust that I’ve entered into. And it’s an added bonus when you get to engage with someone who is just as passionate about sharing information with the reader. For instance, I asked Sikoryak about starting out as a cartoonist and he was very careful to explain how, even as a child, he was intrigued with creating parodies, which is a linchpin to his career.
Let’s turn our attention to the self-published indie comics known as, “mini-comics.” A lot of cartoonists find that, once they’ve created a mini-comic, it gets in their blood and they’re hooked. Tell us about your experience with mini-comics.
I’d say it has gotten more into my blood lately. I had done a few mini-comics when I was younger but it was only after I’d started working with Kriota Willberg, and going to comics festivals, that I got the bug to do more minis. She was doing them as well and so we did them together. It’s like I was saying earlier, sometimes it’s easier to get rolling if you have a community to work with even if you’re doing it yourself. If you’re working on a project together that can sometimes spur you to action a little faster. We also started doing 24-hour comics and that helped me break out of some of my habits of working. When I was doing Masterpiece Comics, I was spending a lot of time refining the story and the art and honing it all done to exactly what I wanted. That approach was very specific and time-consuming unlike my commercial work where I need to turn around the artwork a lot faster. So, I could get caught up tweaking my own work when there wasn’t an imminent deadline. That said, 24-hour comics helped me think of ways to try to work faster. And that approach helped inspire how I worked on Terms and Conditions.
Steve Jobs and Silver Surfer!
Share with us how you used the 24-hour comics working methods in Terms and Conditions.
For 24-hour comics, I wanted to work with a text that was already written. So, the first ones that I did were poetry comics. I did one with Walt Whitman and another one with Edgar Allan Poe. I took existing poems of theirs and illustrated them. The Walt Whitman poem was a Jack Kirby monster comic. The Edgar Allan Poe one was done in the style of Richie Rich. Those were fun and I thought of them as rough drafts towards making comics with text. This was around 2014. I started thinking about how comics had evolved in the last twenty years since I’d graduated from school. I wanted to do a graphic novel. I’d only done short works up until then. What could I do in a long form? I was looking for something new to adapt and then I thought about the iTunes contract. The big joke about it is that it’s long. I’m always looking for an absurd angle for making comics. To quote Apple, I was looking for a way “to make things different.”
From Terms and Conditions
One of the best things about it is that you don’t have an emotional connection to the iTunes contract. There’s not a visual component to them. There’s no plot, no characters. Some people might argue that there’s some kind of narrative. But there’s not the drive that you’d find in a traditional story. The images could reflect anything and even go beyond the text. The images could refer to anything. I wasn’t going to be literal with a character just reading the text. I was going to bring in other images. I took pre-existing comics pages and modified them. I created a main character from Steve Jobs since he already had a specific uniform. Zuckerberg and Bezos have a look: the glasses, turtleneck, jeans, and sneakers. But Jobs had an actual costume he wore. I didn’t have to make any of the comics characters look exactly like Steve Jobs since people recognize what that costume signifies. Every page of the book is drawn in a different style with the main character dressed in the Steve Jobs outfit. The Jobs costume is as iconic as the Charlie Brown zig zag so that’s perfect. Once I had all this set up, it became easy to start the comic.
From Terms and Conditions
For the 24-hour comics first draft to Terms and Conditions, I did ten pages and they were very specific choices. I had Little Lulu, Rex Morgan, Astro Boy, the Dark Knight, X-Men, Peanuts, Sandman, Dilbert, Spider-Man, and The Walking Dead. All with the Steve Jobs main character running throughout these pre-existing pages from all these landmark comics. After I drew them, then I inserted the iTunes contract text into them. I wasn’t drawing them anticipating the text. For the most part, I didn’t know what the text would say in relation to the drawings. Some pages ended up getting shuffled around. I moved the Rex Morgan page to the beginning because I wanted something banal, very basic and straightforward, to start off with. Something grounded in reality before moving on to something more fantastical. I ended up putting out the first 30 pages as a mini-comic. I was only selling it at some comic shops and online. I drew it in chunks of ten or twelve pages. At some point, the iTunes contract got longer! I had to add 25 more pages. It actually allowed me more pages to play with and include more people I like Allie Brosh, Fiona Staples, Raina Telgemeier, and Kate Beaton. People who have a big impact on what’s happening in comics right now. I’d never done that before where I addressed the current generation of people in comics.
Steve Jobs and Kate Beaton!
I also wanted the book to evoke the internet: everything is in this book. Obviously, that’s an illusion on the internet just as it is in the book. I was going for an sense that anything can happen, that you can stumble upon any style of comics. I also wanted it to be international and not just be about my own tastes. My instincts told me that I wanted to represent all that is possible in comics.
From Terms and Conditions
I come from an art background and I can certainly appreciate that you’re working with comics, treating comics, at the level of an art form, which it is.
I was thinking about conceptual art. Kind of the way that John Cage would approach something. Cage would talk about using chance to compose music. Cage would try to get out of his own head when composing, like consulting the I Ching or more elaborate means to take it away from what he might make if he were solely making aesthetic choices. In a sense, Terms and Conditions, tries to get closer to that approach.
Steve Jobs meets Wonder Woman!
I go look at the iTunes store to see what’s popular and there would be Transformers and My Little Pony and that made sense since these are properties that exist in multiple media. That led me to putting in a Transformer page and a My Little Pony page since they are a big part of comics too.
After the mini-comics of Terms and Conditions came out, I asked Françoise Mouly what she thought I might do next. She suggested that I put them on Tumblr. I did it and let friends know about it. I ended up getting a lot of media attention just from the Tumblr. That was crazy. I didn’t yet have the Drawn & Quarterly book. That was still a year away from happening. I hit a nerve that I didn’t realize I would. It became an internet sensation for a second! Which is a long time for me. That was really gratifying and exciting.
That’s the theory, that you create something first on the internet, create some buzz and then approach the publisher. Or, best case scenario, the publisher approaches you.
Yes, I’d worked with Drawn & Quarterly for many years. They’d serialized by Masterpiece Comics in their anthology and then collected them into a book. They knew me. I wanted them to do it. And they said yes, after checking with their lawyers on legal issues. And we have not heard from Apple.
From The Unquotable Trump
Not even a peep from Apple?
I could be wrong but maybe it’s better for them not to say anything. They probably don’t want to encourage people to do this. I think I’ve gotten approval from their silence. I take that as a sign. I know they’ve seen it. I don’t know how they couldn’t. I’m pretty sure that some of the people who interviewed me contacted them for comment. They didn’t respond. I know people within the company and they say it’s great. But no official comment. I can see that if Apple actually said it didn’t like it then that would seem punitive and, if they did the opposite and said they liked it, then that would open the floodgate for others to do their parodies.
People are going to do what they want anyway. Like me, I wasn’t even planning on doing such a book. I was looking for a new way to break from my habits of making comics. I wanted to think of comics in a different way and the work did all that. Having it come out as book was amazing and great but only something you can hope for, not count on.
CAROUSEL Comics Performances and Picture Shows, hosted by R. Sikoryak
Tell us about how Carousel came about.
When I was in college, I was flirting with performance art. I happened to see Roz Chast do a reading of her gag cartoons at an event in the early ’90s. I was really struck by seeing the artist with their work on stage. She was charming. The audience loved it. I thought about how theatrical it was since there’s the charge of being very in the moment in front of a live audience. And I thought I needed to do this with my own comics. I worked a little bit with theater companies and I was already hosting variety shows and that sort of thing. Converting my comics into a slide show, around 1992, was a whole new thing for me. Other people had done it before me but that really worked for me. My strongest material was my comics! So, I started doing my comics as slide shows. Within a few years, I had met other people in the scene from variety shows and other artists who made visual storytelling for theater. Like Brian Dewan who showed the film strip last night. He’s someone who was in my earliest shows. He’s a musician and a visual artist. He makes these idiosyncratic pseudo-educational slide shows dealing with big philosophical issues, which I love.
Carousel photo by Andrea Tsurumi
By the late ’90s, I’d organized my slide shows into what’s become Carousel. In the early shows, I had people like Ben Katchor, David Sandlin, and a lot of other people from the downtown performance scene. By 2001, it had become my main performance habit. So, four to eight times a year, I do these shows where I invite cartoonists and other visual artists. I’d had on people who do live music with projections, people who do drag with projections. Cartoonist Matthew Thurber makes these large scrolls. The drag queen I had on recently is Sasha Velour, who won Rupaul’s Drag Race a couple of seasons back. I met her as a cartoonist. Her current performances still retain a vital visual element.
Mine are more like radio plays or podcasts with actors reading lines for the all the different parts with background music. Or, as in the case of some of the other people you saw last night, they will talk about their work or tell stories that are visually supplemented. Or, in one case, Hilary Campbell showed her rejected New Yorker cartoons which is a very straightforward way of doing it and very comedic. I think it’s very excited to be able to see the person with their work. Everybody does it a little differently. It seems like a simple enough idea. I like to have six or seven people in each show. I think the personality of each artist gets to come through. In the best cases, you can really get some insight into what the work is about. I’ve had shows where I go back and reread the comic after having listened to them read. It’s endlessly interesting. It’s a way to bring it to people who might not see it otherwise. Certainly, with the internet, it’s easier to come across this stuff but even so a lot of the people who present don’t necessarily put their work out in that way. Doing it in the theater brings in a different crowd. So, you get to show theater people in a different form.
The comics came to life in such an organic way and you just don’t know how people, or the cartoonist, might react.
It reminds me a bit of the commentary track on a DVD. It all depends on the work people make. My work tends to be conceptually tight so I tend to honor it as it is. But it’s great to see how people might explode the format and find other ways of doing it.
Anything else you’d like to add?
I’m working on a new volume of Masterpiece Comics. My latest mini-comics help update folks that there’s more on the way. I do storyboards for an animation studio. I teach at Parsons. I’m doing more book illustrations. I try to keep myself surprised.
Well, we can leave it there. Thank you so much, Bob.
Thank you, Henry
Visit R. Sikoryak right here. For more information, and how to purchase, Terms and Conditions, Masterpiece Comics and The Unquotable Trump, visit Drawn & Quarterly right here. When in New York, check to see if your schedule and the Carousel schedule align right here.
Excitement is in the air as nominees are rejoicing over being part of this year’s Eisner Awards for Comics Excellence. The Eisner is the equivalent to The Oscar in the comics industry. The awards are presented every year at Comic-Con International: San Diego. This year’s ceremony is Friday, July 19, 2019. The official list has just been released and you can see it here or just look down below. A good amount of alternative comics and big publishers made the list with a big lead for Image Comics and D.C. Comics. As noted above, Alex de Campi received multiple nominations, as did Tom King.
Noah Van Sciver
Judges for this year are comics journalist Chris Arrant (Newsarama), academic/author Jared Gardner (Ohio State University), librarian Traci Glass (Multnomah County Library system in Portland, Oregon), retailer Jenn Haines (The Dragon, Guelph and Milton, Ontario, Canada), reviewer Steven Howearth (Pop Culture Maven), and comics creator Jimmie Robinson (CyberZone, Amanda & Gunn, Bomb Girl).
The official SDCC statement follows:
Image and DC received the most nominations: Image with 19 (plus 11 shared), and DC with 17 (plus 7 shared). Image swept the Best New Series category, with all six nominees (including Brenden Fletcher and Karl Kerschl’s Isola, up for 2 other categories as well). Also strong for Image are Steven Seagle’s Get Naked anthology (3 nominations), Ed Brubaker and Sean Phillips’ My Heroes Have Always Been Junkies (2 nominations), and the Alex de Campi–edited Twisted Romance (2 nominations plus 1 shared). For DC, Tom King and Mitch Gerads’ Mister Miracle is up for 4 nods, Eternity Girl has 2 nominations plus 1 shared, MAD and Exit Stage Left have 2, and Batman is nominated in Best Continuing Series plus several shared categories.
Other publishers with multiple nominations include IDW (10 plus 2 shared), Lion Forge (10), First Second (9 plus 1 shared), Marvel (7 plus 5 shared), Dark Horse (7 plus 3 shared), BOOM!(5 plus 1 shared), Drawn & Quarterly (5), and Gallery 13 (3 plus 2 shared). Six companies had 3 nominees: Beehive Books, Ohio State University Press, TwoMorrows, VIZ Media, and WEBTOON. Eight companies have 2 nominations each, and another 30 companies or individuals have 1 nomination each.
In addition to Isola, Mister Miracle, and Get Naked, titles with the most nominations include two books from Lion Forge/Magnetic Press, with 3 each: Watersnakes by Tony Sandoval (Best Publication for Teens, Best Writer/Artist, Best Painter) and A Sea of Love by Wilfrid Lupano and Grégory Panaccione (Best U.S. Edition of International Material, Best Painter, and Best Publication Design).
The creator with the most nominations is Tom King with 5: Best Short Story (from DC’s Swamp Thing Winter Special), Best Continuing Series (Batman), Best Limited Series (Mister Miracle), Best Graphic Album–Reprint (The Vision hardcover), and Best Writer. Two creators have 4 nominations each: Alex de Campi (Best Graphic Album–New: Bad Girls, Best Anthology: Twisted Romance, Best Writer, Best Letterer) and Jeff Lemire (Best Single Issue: Black Hammer: Cthu-Louise, Best Continuing Series: Black Hammer: Age of Doom, Best New Series: Gideon Falls, Best Writer). Creators with 3 nominations are Karl Kerschl (Best New Series, Best Penciller/Inker, Best Cover Artist for Isola), Grégory Panaccione (Best U.S. Edition of International Material, Best Painter, and Best Publication Design for A Sea of Love), and Tony Sandoval (Best Publication for Teens, Best Writer/Artist, Best Painter for Watersnakes).
Eleven individuals are nominated for 2 Eisners: John Allison, Emily Carroll, Nick Drnaso, Mitch Gerads, Sonny Liew, Carolyn Nowak, Sean Phillips, Nate Powell, Mark Russell, Noah van Sciver, and Jen Wang.
Voting for the awards is held online, and the ballot will be available at www.eisnervote.com. All professionals in the comic book industry are eligible to vote. The deadline for voting is June 14. The results of the voting will be announced in a gala awards ceremony on the evening of Friday, July 19 at a gala awards ceremony at the Hilton San Diego Bayfront Hotel. Jackie Estrada is the Eisner Awards Administrator.
Best Short Story
“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)
“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)
“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)
Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)
Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)
David Aja, Seeds (Berger Books/Dark Horse)
Jim Campbell, Breathless, Calexit, Gravetrancers,Snap Flash Hustle,Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge,Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings,Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)
Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)
Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)
Gahan Wilson. You know that name. Only a few cartoonists rank as high as Mr. Wilson. His distinctive quirky cartoons graced the pages of Playboy for over 50 years. He was also a regular contributor to The New Yorker, The National Lampoon, Fantasy and Science Fiction, and many other publications. Gahan Wilson is in urgent need of a memory care facility. This is a very challenging time for his family. Please consider making a donation to a GoFundMe campaign you can visit right here.
Gahan Wilson Needs Your Help
From Gahan Wilson’s stepson, Paul Winters:
Gahan is suffering from severe dementia. We have helped him through the stages of the disease and he is currently not doing very well.
My mother, and his wife of fifty-three years, Nancy Winters, passed away on March 2, 2019. She was his rock. His guide through the world. While we all helped with his care, it was my mother who grounded him. He is currently distraught and out of sorts with the world.
Memory care is needed immediately. Gahan and my mother had been residing in an assisted living facility in Arizona. With my mother’s passing, the facility is about to discharge him. We must find him a memory care facility immediately. Memory care is wildly expensive. More so than assisted living. If we could cover the cost ourselves, we would. We can’t, and Gahan and my mother did not save for anything like this. We are asking his fans to help us, help Gahan.
Visit GoFundMe and help one of our great cartoonists find his way: Help with Cartoonist Gahan Wilson’s Memory Care at GoFundMe.
I am looking forward to this year’s 24-Hour Comics Day, kicking off world-wide this Saturday, October 6th. I want to approach it from many sides. As I always do, I will include the hotel I’m staying at. This year it is the Mayflower Park Hotel. As a lot of my regular readers know, I like to include sketches in my observations as much as possible, whether for a book, travel, hotel review, or whatever it might be.
24-Hour Comics Day 2018
I will have my comics-making coincide with the internationally observed 24-Hour Comics Day. I will start drawing from 10 am on Saturday and continue from there to 10 am on Sunday. There are a bunch of guidelines to this activity. The goal is to create a 24-page narrative in sequential art. If you finish early, great. Or you can take a detour from that goal and work on whatever comics project you like. There are other variations, like creating two 12-page comics. I will attempt to do as much as possible, leave the process open-ended.
Okay, with all that said, I anticipate doing a lot of drawing. I foresee doing a lot of full-on comics as well as creating a bunch of drawings that I will end up in need of a proper comics framework at a later date or may end up just standing alone, as is. And, suffice it to say, I intend to honor my gracious host, the Mayflower Park Hotel.
Mark Campos was a beloved member of the local Seattle comics community. After learning that he had taken his life, I really did not know what to say. If there was a gathering, or an event, or a drawing club, he was a part of it. He was a cartoonist that drew what he loved. “Casino Son,” his last collection of stories, came out in 2017.
CASINO SON by Mark Campos
Cartoonists, just like any other creative person, spend a lot of time inside their heads. It can be a very good place to be. It saddens me to think that this particular comrade was dealing with so much turmoil. Rest in peace, Mark.
Here is a review by Paul Tumey of “Casino Son” in The Comics Journal:
“Mark Campos, another Seattle artist, is one of my favorite cartoonists. He emerged during the first wave of zine culture in the 1980s, creating clever, funny self-published comics that rank among the best offerings of this movement. Over the years, he has refined his visual storytelling into an accomplished minimalist style but has remained on the fringes by his own choice. He is also regarded as one of the best writers in the Seattle comics scene. A collection of his stories, Moxie, My Sweet is drawn by various other artists, including Eisner Award winner David Lasky.
For Casino Son, Campos set up a modest fundraising campaign, with the goal of publishing a new comic to premiere in person at the 2017 Latino Comics Expo, in Long Beach, California, November 11-12, 2017. The comic is a collection of short autobiographical vignettes which subtly reveal the conflicts of his Mexican-American upbringing with mainstream USA culture as represented by the casinos of Reno, Nevada — where he grew up. Resonating with modern-day, Build The Wall America, Casino Son is a smartly underplayed commentary. Like Charles Schulz or Ernie Bushmiller, the stories in Casino Son are so well-crafted they read fast and offer depth. Great to see a new comic from Mark Campos — I’m glad he rolled the dice on Casino Son.”
Seattle cartoonists of all stripes have been gathering at a little cafe for years. It’s been a mix of aspiring, emerging, professional, and enthusiast. Over time, this frenetic energy organized into a group that met once a month. For five years, the group met at Café Racer. They socialized, they drew, and the end result was a bunch of comics that were gathered up and turned into a comic book that was published the following month. That monthly comic book was known by the gallant and nerdy name of DUNE. It was a remarkable undertaking. Sadly, Café Racer recently closed its doors leaving the group without their routine creative outlet. To honor and celebrate their collective activity, there will be an art show of DUNE comics at a pub, The Leary Traveler. The show goes up January 18th and will run for a month.
If you are in Seattle, this is a wonderful opportunity to get a taste of some local cartoonist activity or the underground comix scene, per se. In fact, there is an unusually high concentration of cartoonists in Seattle and the Pacific Northwest. That’s a subject far beyond the scope of this post and we’ll pick up on it more and more as we have over the years here at Comics Grinder. Suffice it to say, this art show is one of those special treats not to be missed.
Contributors to DUNE include well established masters of the comics medium (Roberta Gregory), painters and illustrators (John Ohannesian), brilliant young upstarts (Tom Van Deusen), exciting new talents (Gillian Rhodes, Handa, Rachel Scheer), enthused amateurs, and sometimes a non-artist or two who stopped in for beer and bravely decided to join the drawers. Sometimes the artists with the least “polish” end up turning in the pages that are the most clever, funny, and/or emotionally raw.
This show was organized by Push/Pull of Ballard, David Lasky, and Maxx Follis-Goodkind. The show poster is by comix artist Mark Falkey, who has been with DUNE since the first issue. The Leary Traveler is located at 4354 Leary Way NW in Seattle’s ‘Frelard’ neighborhood (the urban sprawl between Fremont and Ballard). The DUNE art show opening, takes place on Thursday, January 18th, from 6 to 9 pm. Expect many artists to be in attendance.
A new blog, Grab Back Comics, recently launched with the goal of helping to create greatly awareness of sexual assault and related issues. There is an ongoing call for submissions. Here is a statement from the blog curator, Erma Blood:
Project Call for Submissions: Grab Back Comics, Comics Stories About Sexual Assault
Submissions of original work are now being accepted for inclusion in the Grab Back Comics website and archive. Grab Back Comics is a curated collection of comics stories about sexual assault, harassment, rape culture, and advocacy. Grab Back features original artist interviews and book reviews, as well as original comics. Telling these difficult personal stories is a political act, an act of love and resistance. Grab Back encourages artists to tell their own stories and the stories of others, and presents this work with pride and admiration. The project is intended to be a safe landing spot for people looking for first-person stories, media representations and educational resources.
Anyone interested in illustration, art, satire, or the specific art of drawing, will know something about the career of Edward Sorel. The work of Edward Sorel covers a wide spectrum resulting in a hefty portrait of the human condition, with a notable eye to speaking truth to power.
My interest in Edward Sorel runs deep. I checked out from my school’s library Sorel’s 1972 collection, “Making the World Safe for Hypocrisy.” It was 1973 and I was a sensitive and highly impressionable lad of 10 years-old. I was filling sketchbooks with portraits of Watergate personalities, both villains and heroes. I tore into that book and marveled over Sorel’s distinctive crosshatching and his lively expressive line work. I was in awe with how he brought to life various dignitaries, politicians, and movie stars. The gold standard had been set in my mind and it hasn’t changed ever since. What really wows me now goes back to my early introduction to the work of Edward Sorel.
Quotes from reviews for Mr. Sorel’s new book, “Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936,” published by Liveright/W.W. Norton & Company:
“Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to ‘Moose Murders.’ Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. Not only does he then write a terrific book, but he illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading, but in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny, and in the end, touching.”
—Woody Allen, The New York Times Book Review (cover review)
“Rapier-sharp…With a tip of his pen to Daumier, the artist evokes the quaint, febrile glamour of Astor’s Hollywood, and his affectionate, conversational prose gives Mary and her story a kind of valiant dignity never bestowed while she lived.”
—Edward Kosner, Wall Street Journal
“Delightful, colorful, and occasionally cheeky.”
—Allison Sadlier, Entertainment Weekly
From “Mary Astor’s Purple Diary” by Edward Sorel
Edward Sorel (born Edward Schwartz, 26 March 1929, The Bronx) has recently released a book from Liveright/W.W. Norton. The book, entitled “Mary Astor’s Purple Diary” is about his lifelong obsession with film star Mary Astor but it’s also a memoir of a sort. You may have read Woody Allen’s review of the book in The New York Times Book Review. Allen had the honor of introducing many new readers to the opening story in the book: It is 1965 and Edward Sorel, newly married and settling into new digs, is left with the task of replacing the old linoleum kitchen tile. Lo and behold, buried underneath is a stash of old newspapers chronicling the scandalous 1936 custody battle of Hollywood star Mary Astor. Well, the rest is history and this most engaging book.
I interviewed Mr. Sorel this last Wednesday, February 8th. I hope you enjoy it.
HENRY CHAMBERLAIN: Turning our attention to Mary Astor, what is intriguing about her is that she had a life where one plus one kept equaling three. Despite a series of bad choices, whether in lovers or career options, Mary Astor managed to persevere. Is that part of the appeal, that she took such an offbeat path?
EDWARD SOREL: The appeal came when I read her memoir. She was a self-denigrating and witty writer. Very observant. Somewhat cynical about Hollywood. She had an intelligence that appealed to me. Then I started seeing her movies and I was hooked on her. Her bad decisions that you refer to have to do with having had an abused childhood, not in any physical way but in a mental and psychological way.
Her father kept her from having friends because he didn’t want her to see how Americans lived, how Americans treated their children. He wanted to be the dictator of his home. And he succeeded. She was unable to break free from him until quite late in her life. And it kind of ruined her. And God knows she made a lot of terrible mistakes in her life.
Marry Astor and John Barrymore.
I was watching 1924’s “Beau Brummell” and I am intrigued by the relationship Mary Astor developed with her co-star, John Barrymore, of all people. In their case, the twenty year age difference was inappropriate. However, it was what it was. And it was through Barrymore that Mary Astor learned a lot and gained self-confidence.
He did do her a lot of good but not for any altruistic reasons. He was out to nail her. He was on his way to Hollywood on the 20th Century Express. He had just completed the most successful run of “Hamlet” that America had seen. He was acclaimed as America’s greatest actor. He was on his way to the coast to make “Beau Brummell” for Warner Bros. because they were paying him a lot of money. And he picks up a magazine that has a photograph of Mary Astor about the age of 16 and under the photograph it said, “On the Verge of Womanhood.” Barrymore had a particular liking for virgins.
As I pointed out in the book, it was Barrymore who had his way with Evelyn Nesbitt, who later married Harry Kendall Thaw. And it was Thaw who shot Stanford White, America’s great architect, because he thought Stanford White had taken his wife’s virginity–when, in fact, it was Barrymore. That is a sidebar I’m proud of since I pieced together that bit of information.
According to Mary Astor, Barrymore really believed that he was going to marry her. And maybe he did plan to. But when Mary would not break free from her parents, after Barrymore offered her starring roles, because her father forbade it, Barrymore realized that she was just a child. She was completely under the sway of her father. Marrying a woman twenty years younger was one thing but marrying a child was something else. He broke her heart by calling it off.
I think it’s a cartoonist thing, as I’m a cartoonist, that we keep seeking out the offbeat. So, in the spirit of that I throw out a curveball, and ask you about your changing your last name to Sorel. You are referring to Stendhal’s “The Red and the Black.” I loved that book and the main character, Julian Sorel. Is there something interesting going on there with that connection?
I liked to think that I saw myself in Julian Sorel because he was like catnip to women, which I really wasn’t, and he hated the corrupt society of his time, as I hated mine. The first election that I voted in was the one between Eisenhower and Stevenson. I took a dim view of both of them and voted for a third party.
The other thing about Julian Sorel was that he hated his father. God, I certainly hated mine, not only because he tried to discourage me in wanting to be an artist but because he was a mean-spirited ignorant man not kind to my mother, not kind to anyone. And I didn’t want anything to do with him. I was going to be a cartoonist and I didn’t want to sign my name, Schwartz, in the right-hand corner. And I chose the name, Sorel, because of the novel. It seemed as good a name as any.
“Stagecoach.” 1980 illustration for Esquire magazine.
I think back to myself as a boy wondering about how you created your work. You’ve spoken about “finding lines.” Could you share a little bit about that?
When you work commercially, and you’re taking assignments, you have to show the art director what you plan to do. So, you do sketches of the drawing you plan to do. And, after a while, I began to notice that my sketches had more vitality and life than my finishes did. My finishes were often dead and overworked. And so I tried to emulate the quality that I had in my sketches which meant doing it without tracing. In point of fact, that’s impossible to do if you’re doing very complicated scenes. You can work direct if you’re doing a face, a figure, a still life, or anything relatively simple. You can work direct without tracing and the work has a vitality to it. But when you’re doing complicated scenes, with many different elements, you really do have to know where you’re going. So, I found out that if I just had a light outline of where I wanted the elements to be, and didn’t trace, I could keep this sketchy quality that I think gave my art work some distinction.
“The Goodwood Races,” 1939, by Feliks Topolski (1907-1989).
That quality of your art has influenced so many artists, whether they realize it or not. And, certainly, there have been other artists who have used an “expressive line.” You have talked about some of your favorites, like Feliks Topolski. There’s a certain sensibility that you both share.
Yes, well, he wasn’t trying to be funny like I always have. But his work has spontaneity, which I value in every artist. Wether its Bemelmans or Topolski. What shocks me now is to find so many artists who enjoy doing art work with a computer. I’ve seen some very nice computer art. You can get that nice flat color and can do all sorts of tricks that you can’t do by hand. But, to me, it doesn’t seem like fun. It seems like working on a machine. I just love the act of drawing. I’m a throwback. Most of the illustrations that you see today in magazines, and God knows you don’t see too many, are computer-generated in some form or another.
One compromise is for the artist to draw some of the illustration by hand, scan it, and do the rest on a computer.
It doesn’t seem fun to me but it must seem fun for them. I don’t cast aspersions on their way of doing it.
I think it boils down to being a time-saver. And, once a routine has set in, that’s the way it’s done and that’s it.
The other thing about computer art is that there’s nothing original, nothing to hang on the wall. You could have a show but it would only be prints. To each his own.
“Pass the Lord and Praise the Ammunition,” 1967, by Edward Sorel
I wanted to touch on one of the all-time classics, your 1967 anti-war illustration, “Pass the Lord and Praise the Ammunition.” The real life punchline there is that you were all set to roll out a poster when the focal point of the piece, Cardinal Spellman, passed away rendering your satire unsellable. Now, there’s some divine intervention.
The day it came off the press is the day he died. It never sold in any store in America. It is in a museum in Amsterdam. One store in Chicago tried to sell it and had its window broken. Apparently, Cardinal Spellman had some fans in Chicago. That was a bad break. You get some bad breaks and you get some good ones. I was the recipient of Woody Allen’s praise on the front page of The New York Times Book Review. That was the best break I ever had.
From “Edward Sorel: Nice Work If You Can Get It,” 2011, by Leo Sorel.
I encourage everyone to check out the short film on you that your son, Leo, did. That is quite informative and a treat. It shows you in your studio. And then the Q&A afterward with illustrator James McMullan is very impressive. Towards the end of that, you talk about the pen you favor, a Speedball B6. I’ve always had a devil of a time with steel point dip pens. But the Speedballs I could manage. And then you flip it backwards to get the crosshatching.
Yes! That was my secret. The Speedball does move and it allows you to be kind of spastic over a piece of paper.
“Nixon and Mao,” 2007, The New Yorker.
I wanted to ask you about Donald Trump. There was that drawing of him as Medusa you did last year. The big news at the moment is all about Mitch McConnell silencing Elizabeth Warren. I could see that as perhaps triggering an Edward Sorel drawing.
I can’t cope with Donald Trump. I haven’t done political cartooning in a number of years. I can’t deal with him. With all other presidents, you could make fun of their hypocrisy and have fun with them. But Mr. Trump is kind of crazy. And he’s dangerous. He’s cruel. Making fun of him doesn’t seem what’s called for. It’s trivializing him. He shouldn’t be trivialized. He’s really a danger. People are really scared. They wake up with Donald Trump on their mind and they go to bed with him on their mind. He’s a heavy presence in our lives now. I don’t know how to deal with that.
You can’t call him the new Nixon. At least with Nixon, there was a mind at work. It’s being very generous, but there was some sense of integrity compared to Trump. Nixon you could call a president. But, with Trump, he’s president only by title.
He seems unhinged. I think it was Bernie Sanders who called him unhinged. He seems too crazy to be in that office. I don’t know what else to say about him.
Donald Trump illustration, 2016, for Vanity Fair.
Especially living it right now. It is stomach-turning. I won’t talk about him anymore. But I do need to mention Melissa McCarthy’s impersonation of Sean Spicer. Have you seen that?
No, tell me about it. I’ve been trying to avoid the news lately.
Well, Melissa McCarthy is a comic genius and she was on Saturday Night Live last weekend. She did a spot on impersonation of Sean Spicer, had the look and mannerisms down.
Oh, wait, I did see that! A friend sent that to me.
I think that has the power of a political cartoon and then some. It captivated everyone. It was an emotional release for everyone to see that.
Yes, I’m sure it was. It was very funny.
It seems to me that every artist needs a hero, someone to play off of. I see your book, weaving your life with Mary’s, as following the artist’s struggle. I think of how Mary evolved. I think of how Mary and Bette Davis were able to rewrite “The Great Lie,” turning that around into a notable film.
She did become a very fine actress. But she also became a little bit like her father, terribly obsessed with money. She twice turned down contracts for starring roles since she believed supporting roles would provide a longer career. She did indeed have a long career. She was in over 100 movies. And she was going strong until about 1959. She didn’t take chances. Maybe she didn’t believe she was a good enough actress. She missed having a chance at great roles and great performances. That was too bad.
My obsession with her has to do with my thinking I wasn’t a great artist because I didn’t have an obsession. So, I was very grateful when people called my interest in Mary Astor an obsession. Yes, it was an obsession and I do think it helped produce my best work.
“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” by Edward Sorel
Can you tell us about your connection with Boston University?
I was very lucky to have Boston University buy my entire work, my oeuvre, as we say. In March, they’re having a retrospective of all my work and, as a matter of fact, I’m still packing up things to send there.
The Howard Gottlieb Center at Boston University has one of the finest collections from all walks of life. They have the second largest Martin Luther King collection. They have many of America’s great writers. They have Fred Astaire and Ginger Rogers. They have most of the actors and actresses from the golden age of Hollywood. I’m very delighted to be part of this collection.
Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.
I heard a siren in the background. It brings back my visits to New York. You are a lifelong New Yorker and I know how much you love New York. Could you share some of your thoughts on the city?
I do love New York. I don’t love the crowds anymore. I do worry. When you live in a city like New York, you do begin to see a kind of science fiction future: crowds everywhere, lines everywhere. New York is kind of becoming that. They keep building these enormous skyscrapers without thinking about how the city will accommodate it. They’re not building out, like they did in Los Angeles. They’re building up. It used to be that the only crowds were in midtown but now crowds are all over. And you find yourself walking in the gutter because there’s too many people on the sidewalk.
So, yeah, I love New York. The New York that I grew up with, where the museums were free and everyone went to public school, seems to have vanished. Everything is expensive now, including the museums. It’s very difficult for young people. When The New York Times that I used to buy for three cents is now $2.50, The New Yorker which I used to buy for ten cents, is now something like $7, it’s bizarre. And, of course, the wages that young people get are pitiful. So, yeah, I love New York but I don’t like the time particularly.
Is there anything else that you’d like to add?
I can tell you about my next book. It’s going to be similar in structure to the Mary Astor book. It’s going to be a memoir. It will be about my growing up in New York. And it will be about the thirteen presidents that I’ve lived through.
My point is that every one of these presidents, whether I liked them or not, committed illegal acts, overthrew governments illegally, and did unconstitutional things. Starting with Dwight D. Eisenhower, who became enamored with Billy Graham. It was through those machinations that they put “In God We Trust” on our currency and inserted “Under God” in our oath of allegiance. Somehow, I regard that point in history as the slope we’ve been sliding ever since.
Now, it’s done so garishly with someone like Trump.
Right. Trump, the great Christian, who apparently was much loved by the Bible Belt. I don’t think there’s anything more derogatory I can say about organized religion than that they were responsible for the election of Donald Trump.
Is part of the new book you’re working on sitting on your drawing board?
Not yet. A little bit is sitting on the computer. Nothing has been drawn yet.
I wish you well on that. It’s been exciting and quite a treat to get a chance to talk with you for a bit.
“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” is a 176-page hardcover, with full-color illustrations, published by W.W. Norton & Company. For more details, visit W.W. Norton & Company right here.