Today, Barr testified/spun before Congress. A perfect example: Sen. Dianne Feinstein asked Attorney General William Barr what is it about Trump ordering his White House counsel Don McGahn to fire Mueller (as well as demanding that McGahn lie that Trump had ever asked to fire Mueller) that is not obstruction of justice. Barr’s response was to spin a picture of Trump, with his brilliant legal mind, requesting a closer look at Mueller’s conflict of interest; and Trump never outright made such a crude demand as saying, “Fire Mueller!” Huh? Which is more likely, that Trump was simply expressing a legal opinion or that he barked out what he wanted? Feinstein followed up with the question: “So, what was the conflict of interest?” Barr never ever answered that question! He proceeded to tap dance byway of speaking on legal theory to run out the clock. And that is just one example of Barr’s technique. Don’t expect Don McGahn to ever get a chance to testify himself. If he does, that would be well worth seeing.
Herbert Marcuse, Philosopher of Utopia: A Graphic Biography
Herbert Marcuse is not a household name in the same way today as, say, Marshall McLuhan, another intellectual who broke into mainstream consciousness. However, Marcuse was a huge focal point for many protesters during the sixties and his ideas have great relevance for today’s challenging times. I say this as a way to cast as wide a net as possible for potential readers of a very compelling new work in the comics medium, Herbert Marcuse, Philosopher of Utopia: A Graphic Biography, co-authored and drawn by Nick Thorkelson, edited by Paul Buhle and Andrew T. Lamas, published by City Lights. It was my pleasure to get a chance to interview Mr. Thorkelson.
Herbert Marcuse, a hero of the student protest movement.
Marxism. Socialism. Capitalism. Philosophy. All of this does not add up to light and casual reading. However, a concise grinding through the comics medium can result in something quite enlightening–and here Nick Thorkelson succeeds to unpack issues with just the right touch. If you are at all interested in the politics and philosophy behind the tumultuous times we live in, then you will appreciate diving into this graphic biography. We cover in this interview just enough to give you a sense of the subject at hand. There’s the pesky sound of a leaf blower that momentarily vies for attention but it just goes to show that life is forever moving forward which is rather apropos to the spirit of our chat. Without a doubt, we live in dangerous and troubling times but, by learning from the past, it informs and inspires our present and our future. If you are not satisfied with the status quo, and dream of a better future, then you’ll want to read this essential guide to Herbert Marcuse.
Herbert Marcuse, Philosopher of Utopia is a 128-page trade paperback in duotone, available now, published by City Lights.
Meet Trump’s New Fixer: The Attorney General of the United States. Illustration by Henry Chamberlain.
Working for Trump is not the first time that Attorney General William Barr has been called upon to clean up a mess. Barr had the very same job of Attorney General under George H.W. Bush where he presided over making the Iran-Contra scandal fade away. Papa Bush, with Barr’s whole-hearted support, pardoned six key people from the Reagan administration who were involved, including former Defense Secretary Caspar Weinberger.
If Barr saw no problem in absolving players in Iran-Contra, one of the biggest scandals since Watergate, then he certainly has no problem in helping to somehow make the Mueller report go away; clear Trump & Co. of any and all charges; and just perform his role as a smug little henchman doing his master’s bidding.
Have you ever wanted to just go all Jack Kerouac and do an extended road trip? You’d yell out, “Nothing behind me! Everything ahead of me!” Well, what if you’re also caught up in trying to grapple with America under Trump? Then consider this new graphic novel, Amongst the Liberal Elite, written by Elly Lonon and illustrated by Joan Reilly, published by powerHouse Books. It is based upon Ms. Lonon’s hilarious McSweeney’s column. More on that later. If you also happen to enjoy a regular intake of NPR, MSNBC, and lean left in your politics, you’ll especially appreciate the ongoing quips exchanged by the story’s two main characters, Alex and Michael, a couple of upwardly mobile middle-aged lefties.
The humor is of the razor-sharp rapid-fire Jon Stewart variety. It can sometimes feel like too much of a good thing so everything depends upon the timing and delivery. The characters let loose a bon mot, hold back a bit to engage in self-deprecation, and then repeat. That’s basically the pace of this narrative. If you like the characters, then all is golden–and these two characters are very likeable even if you never really get past their walls of witty retorts. And, hey, maybe you know people like that. What you get here is a very lean, crisp, extra-dry and droll, gluten-free set of misadventures. This sort of political humor tends to be built this way and for good reason. There is only enough character development to serve the jokes and plot. There’s no deep connection nor would you need or care for that. Think Seinfeld. These are fictional constructs here to tickle your funny bone and offer up some finely-tuned political satire. Bravo! It works exceedingly well.
Amongst the Liberal Elite by Elly Lonon and Joan Reilly
To be able to take a popular column made up of clever repartee and turn it into a graphic novel is quite remarkable. I can’t stress enough what an ambitious task that is. Joan Reilly’s artwork successfully sustains this very special blend of political humor. Ms. Reilly is a masterful political cartoonist in her own right so she proves to be the perfect creative teammate to Ms. Lonon. Together, Elly Lonon and Joan Reilly bring to life two super quirky characters with much to say and reveal about our current political state.
The full title is Amongst the Liberal Elite: The Road Trip Exploring Societal Inequities Solidified by Trump (RESIST) and it is a 156-page hardcover published by powerHouse Books.
Bob Woodward has a book out on Trump. You may have heard of it. It’s entitled, Fear, published by Simon & Schuster. Mr. Woodward, a legend in journalism, was in Seattle for a Q&A at the Paramount Theatre this Wednesday night. Local pundit Knute “Mossback” Berger was the moderator. Mr. Berger asked a series of mellow questions. He asked, for instance, about the book’s title. The great thing about interviewing someone like Bob Woodward is that half the battle is just to show up. No matter the question, Mr. Woodward will proceed to paint a vivid picture. Regarding the book title, that took him back to Candidate Trump, long before his campaign was considered substantial. It was the job of Woodward to still pose serious questions, the same sort he’d posed to Candidate Obama and others. That day, the pivotal question was asked: What does power mean to you? The scene that played out was something close to Shakespearean. Trump seemed to turn his attention out toward a confidant in his mind’s eye. Power, and holding on to power, Trump said, is achieved through striking fear.
It is during an audience Q&A that things can get quite interesting. For Woodward, this was a time to riff, to explain, to clarify, in any way he pleased. Each response turned out to be a gem. It meant he took his time and didn’t get around to everyone who dutifully lined up with a question. Each answer took on a life of its own. One question might begin a discussion on a related subject. One answer would emerge prompted from a question asked earlier. It would result in such gifts as Woodward recollecting the day that he finally got former President Gerald Ford to reveal the details of the Nixon pardon. The common assumption had been that a deal had been struck. And, indeed, a deal had been offered by White House chief-of-staff Alexander Haig. Ford refused a quid pro quo. There was no reason for it since he was to replace Nixon anyway. It was only later, with the prospect of Nixon continuing to damage the country, that Ford chose to pardon him. It wasn’t an easy decision and it was clear that this decision would seal Ford’s fate. It was a decision that he would never be able to recover from as a candidate for president in his own right. In retrospect, it was to be acknowledged as a courageous decision. Ford went on to be the recipient of the Profile in Courage award in 2001. It was presented to him, at age 87, by Caroline Kennedy, President Kennedy’s daughter. A lesson in not be too quick to judge.
FEAR by Bob Woodward
The final answer, again originating from one question and yet seeming to answer them all, was a true showstopper. This last gem found Woodward looking back to some of his earliest memories. He was playing with two previous questions: the idea of what in his life caused him the greatest shock; and summing up the crisis we live with today with a dangerously incompetent commander-in-chief. Woodward had already painted a picture of an easily distracted Trump. And that got him to thinking of how some things should be fundamentally understood, like the difference between right and wrong. As a young Naval officer, Woodward served aboard the USS Wright, and was one of two officers assigned to move or handle nuclear launch codes. This was circa 1965. It was seared into Woodward’s psyche that the fundamental responsibility of an American president is to stay out of a nuclear war. But Trump was oblivious to the most basic facts. He openly questioned the existence of NATO. He did not understand the most basic facts of global interconnection. So, in order to best answer that question asked a while ago regarding what shocked him the most, Woodward just had to refer back to Trump, a president so brazenly ignorant that he compels his Secretary of Defense to have to answer, “Mr. President, we do these things in order to avoid World War III.” That’s enough to make anyone lose their lunch.
Fear is surely required reading. It is definitely a worthwhile book and measures up with Mr. Woodward’s best.
Berlin is a monumental work in comics. Few cartoonists will come close to such an achievement–and it couldn’t have been created by a nicer guy. What came across, over and over, during this talk is the fact that Lutes is very accessible and down to earth. That open approach plays into part of what makes his landmark work so special. It all began when teenager Jason Lutes wanted to make sense of a documentary about the holocaust he was suddenly exposed to in a high school history class. The teacher for that class was an alcoholic who made no effort to hide his struggles. He literally set up the movie for his class and left to get a drink. That abrupt and careless action ultimately triggered an in depth exploration of Weimar Germany through a creation of an expansive work in comics that would take 22 years to complete.
#ProtectMueller march in Seattle on 8 Nov. 2018
It was not lost on anyone during Lutes’s talk related to the dismantling of the German government of the 1920s that concerned citizens, just outside on the streets of Seattle, were protesting Trump’s own inroads into dismantling the U.S. government. Timing is everything. That Thursday night book talk directly coincided with protests across the country in support of protecting the Robert Mueller investigation after Trump installed a loyalist as acting Attorney General of the United States. Details are everything. If you follow the characters and the rich narrative of Berlin, you can’t help but get an eerie sense of having a mirror held up to the past and to the present.
Cartoonists holding each other’s works: Jason Lutes with David Lasky
Authenticity is everything. What is so appealing about comics by Jason Lutes is the solid storytelling. That involves a dynamic use of the comics medium: a crisp consistency in step with strategically placed visual elements that are pleasing to the eye and move the story forward. A quick example: I was standing in line to get my copy of Berlin signed and I made a point of poring over each page as I flipped my way through. Right around the midpoint, there is a page made up of wordless panels showing a mysterious figure in a row boat. He reaches the shore to find what looks like a vicious snake. He picks it up by its jaws and overpowers it. That same character reappears in the book as does the snake, both providing just the right doses of symbolism as well as pure entertainment. It’s important to note that, while Lutes referred to vast amounts of research and reading, he also fondly recalled the influence of key works in pop culture. Berlin Alexanderplatz, a novel about Weimar Germany, by Alfred Döblin, holds as much importance to Lutes as his viewing of the original Star Wars movie as a kid. Altogether, what you have in Berlin is an honest look from an individual processing and distilling at a meticulous level.
Cartoonists Revisit: Jason Lutes with Jennifer Daydreamer
For many in the audience that night, it was an opportunity to revisit a respected work and commiserate with a friend and colleague. Seattle is a lightning rod for countless creative people and that includes a high number of independent cartoonists. There’s a certain sensibility to the alt-comics artist with Jason Lutes being a prime example. As he discussed in his lecture, it was Seattle that he gravitated to in the 1990s. After attending the Rhode Island School of Design, Lutes moved to Seattle and worked for the comics publisher, Fantagraphics. He subsequently worked for the alt-weekly, The Stranger, just as it began publication in 1991. During this era, Lutes became part of a group of cartoonists that went on to form an integral part of the Seattle comix scene. That group included some members that were in attendance that night: Megan Kelso, David Lasky and Jennifer Daydreamer. It was a treat to have part of the gang together again on such a special occasion.
The very idea of a comic strip like Doonesbury is in the best spirit of what comic strips have been capable of doing. Doonesbury, which launched October 26, 1970, lived up to its ambitious goals. Now, there’s been a seismic shift in reading habits, and comic strips are evolving and adapting to the new cultural landscape. In 2014, the siren song of Amazon compelled Garry Trudeau to shift his focus to writing a sitcom. On March 3, 2014, the “Classic Doonesbury” series began, featuring approximately four weeks of daily strips from each year of the strip’s run. Trudeau continues to produce new strips for Sundays. The times, they keep a changin’. That said, in the #MeToo era, with a focus on Brett Kavanaugh and rape culture, something can be learned from taking a look back at the early efforts of Garry Trudeau in his Yale college newspaper, specifically, the infamous “rape joke.”
And what exactly transpires within this particular comic strip? Our main character, arguably Trudeau’s alter ego, is annoyed by a female student and contemplates raping her. He wants to dance with her and she obliges but only after insulting him. He makes a self-deprecating observation in relation to the idea of raping her.
What made that joke possible? What made young Garry think that was funny and okay? It’s a joke that left me disappointed when I read it. I had purchased a collection of Trudeau’s Yale comic strips many years ago. In fact, I was a teenager, with ambitions related to comics, when I bought the collection of Yale comic strips. It has been said (and this could be internet trolling) that Trudeau admits to cringing whenever he sees the “rape joke” or hears of it and has even had it removed from later editions of this collection of his Yale strips.
What bothered me way back in the early ’80s, when I first read this comic strip was that I immediately knew it was wrong and yet there it was. Trudeau knew it was wrong too. It’s possible to imagine Trudeau, a Baby Boomer with a pre-internet mindset, mistakenly thinking that he could keep that comic strip under wraps. In all fairness to him, I can’t seem to find any response directly from him about the “rape joke.” There’s this recent Trudeau piece, no mention of the infamous joke, from Comic Riffs at The Washington Post.
He should talk about the “rape joke” now, all these years later. I know, not very likely. It is the stuff of legend how Trudeau has avoided the press. I always found that ironic given how outspoken he has been in his celebrated comic strip satirizing society, politics, and the media.
Is it too much to ask of Garry Trudeau to speak about that “rape joke” within the context of our current state? It’s a fair, even intriguing, question for him and it might just inspire Mr. Trudeau on what lies ahead for him. In fact, if he really wants an invigorating project, why not dissect that “rape joke” and come up with some answers. It could be a graphic novel. I’m not kidding.
Garry Trudeau’s new collection of comic strips, #SAD!: Doonesbury in the Time of Trump.
From his opening statement today, one thing is for sure, Brett Kavanaugh Loves Beer! For such a supposedly sophisticated legal mind, Kavanaugh has stumbled and simply come across as upset. “If everyone who loves beer was accused of sexual assault, that would be a very sad world,” stated Kavanaugh today. He proceeded with repeatedly stating how much he still loves beer. Is this a great legal mind? Is this a person of good character? Clearly there is absolutely no moral equivalence between Kavanaugh’s testimony and Dr. Ford’s testimony.
The three accusers of Kavanaugh have welcomed FBI investigations. Kavanaugh talks circles around it when asked if he would welcome an FBI investigation.
Adam Driver (left) and John David Washington in ‘BlacKkKlansman’
Do you find yourself flooded by Trumpworld only to wish you could zone it all out? That frenzied state of distraction is exactly what the Donald is aiming for. Spike Lee’s new film, BlacKkKlansman, aims to give us clarity and put things in perspective.
Topher Grace in BlacKkKlansman
Anyone familiar with Spike Lee’s work appreciates its integrity. 1989’s Do The Right Thing deftly confronts American race relations. That is a powerful movie. Lee brings that same energy and intelligence to 2018’s BlacKkKlansman. As a cartoonist, I often wonder about how the comics medium, in all its varied forms, can best address the current Trump crisis. I think Jim Carrey’s cartoony paintings, with their raw quality, have a much greater impact than perhaps most professional editorial cartoons. As for anything remotely falling under the “graphic novel” category, I’d have to give a lot of credit to John Oliver’s parody of Mike Pence’s Bunny Book. That said, whatever the art form, it is the measured response that ultimately wins the heart and soul of the viewer.
White nationalists clashing with counterdemonstrators in Charlottesville, Va., last year. With an anniversary rally planned in Washington on Sunday (8/12/2018), the authorities have planned for weeks to avoid a repeat of last year’s clashes.CreditJoshua Roberts/Reuters
Spike Lee has certainly given careful consideration. Based upon a true story, Lee’s main character is a young and idealistic African American man conflicted by serving his local police force and serving his community at an activist level. The narrative masterfully weaves in the 400-year-old American racial experience: past, present (1972), and future (2018). There are those moments when everything comes to such fine point, especially after the newly-minted undercover detective Ron Stallworth (John David Washington) has gotten settled into his job. One fellow officer talks with him about how white supremacists are steadily going mainstream and it will eventually lead to the White House. Ron shakes his head in great disbelief.
It is Ron’s job, which he carved out for himself, to infiltrate the local chapter of the Colorado Springs Ku Klux Klan. He is obviously in need of help since his phone conversations quickly lead to an invitation to meet in person. That’s where a second Ron Stallworth (Adam Driver), in the flesh and Jewish no less, comes in. And the KKK connection just keeps getting complicated, not to mention dangerous. Soon, the original Ron Stallworth is on the phone establishing quite a friendly relationship with the young KKK Grand Wizard David Duke (Topher Grace). Lee continues to thoughtfully and gracefully connect the dots, as painful as they are–without a heavy hand. And it is that cumulative effect that adds up to the most powerful film I’ve seen this year. The final moments bring us to our present with a fiery defiance and a remembrance of Heather Heyer, may she “Rest in Power.”
Spike Lee delivers a good dose of reality that can stir the soul. We don’t do this much anymore (maybe for Star Wars and superhero movies) but this film will have you in the mood to clap at the end. This movie got me good and I was clapping. I even yelled out that folks can applaud. I did it in that communal spirit that many of us in Seattle respond to. Well, not only in Seattle. And, like a chain reaction, people did applaud. It didn’t last very long since, as I say, we really don’t applaud movies anymore. But it did happen all the same, even if momentarily. We Americans need to respond to the current American crisis every chance we get. BlacKkKlansman responds to that very real need. It’s a start and it will, no doubt, inspire others to do much more, like voting.