EDITOR’S NOTE: The New York Post headline says it all, Sex Abuse Rituals at NJ Boarding School Exposed — in Cartoons by Survivor. The newspaper does an admirable job of describing the nuances of graphic novels and Glenn Head’s new book, Chartwell Manor. And The New York Post has no qualms about laying it out as it is: “Don’t let that whimsical cover art throw you: Head’s unflinching book recounts his two years at the now-defunct Mendham, NJ, boarding school run by headmaster “Sir” Terence Michael Lynch — a serial sexual abuser who manipulated young boys into “cuddling sessions” after fondling and beating their nude bodies.” The New York Post also provides an outstanding public service by underscoring the fact that survivors of Chartwell Manor still have time to file a suit against the Chartwell administration of aiding and abetting Lynch, and others, in the abuse of children. Time is running out for Chartwell Manor victims to join those who’ve already filed claims against surviving Chartwell administrators accused of letting Lynch — and other accused faculty — cultivate a culture of abuse. The deadline to file is November 30, 2021. Contact Jeff Anderson & Advocates law firm today.
I’ve been writing about comics and creating comics for many years now–and loving it. In the very near future, I hope to have some news about a book of my own. For now, I want to keep my nose to the grindstone and this is one very special reason to do so. This is an interview with master cartoonist Glenn Head. For those of you familiar with comix, especially those chock full of underground comix DNA as I just talked about in my last post, then this will be a welcome treat. Maybe you’ve gotten a chance to check out Head’s new book, Chartwell Manor, about the abuse that Head experienced at the boarding school, but just as important, the aftermath. Well, this interview helps to put things into further context from the standpoint of Glenn’s previous graphic novel, Chicago, as well as his career as a whole.
Glenn Head is part of that select group of auteur cartoonists who has steadily been building up a body of work, with its surrealist bent and underground comix influence, that reaches the level of art. Much of his work, as creator and/or editor, has appeared in various comix anthologies: Bad News, Snake Eyes, Hotwire, and R. Crumb’s Weirdo magazine. And so it makes sense that Head has steadily been climbing the Mt. Everest of comix, the grand ole graphic novel.
Chicago: Searching and learning.
Most aspiring cartoonists will never follow through on creating their very own full-length, full-bodied (sorry, no stick figures) autobiographical graphic novel, the pinnacle of auteur cartoonist ambition. However, where there is a will, there is a way. Glenn Head has done this particular feat twice. The most diligent of cartoonists would do well to follow closely what Head’s been up to with his last two books, observe how they oddly mirror each other, one a variation on the other. What I’m talking about is Head’s 2015 graphic novel, Chicago: A Comix Memoir, which was regarded as Head’s coming-of-age magnum opus. Well, he’s followed that up with his latest work, Chartwell Manor, which is another coming-of-age magnum opus: same protagonist and life struggles but, nearly twice as long, more refined, and pivoting off a different focal point.
Chicago: Father and daughter moment.
As I leaf through this graphic novel, I am struck by all the intricate line work, all the meticulous detail, and all the frenetic energy. There’s a marvelous dance with death (and life!) going on, almost spinning out of control, and yet very well balanced. The artist is in the lead. Death will have to wait its turn. If we try to compare both books, Chartwell Manor is perhaps more focused and detailed, not to take anything away from Chicago. While the Glen character in the first book is going through a series of dark episodes, including an interlude with a troubled woman, it is the second book that confronts what is the root cause of Glen’s instability and struggle. The significance of this root cause is underscored by the fact it is not mentioned at all in the first book. The harrowing events of being molested at a boarding school, by the headmaster no less, are not afforded even one panel in the first book. But, by astonishing contrast, the boarding school IS the second book, covering most pages.
Glen with a gun. You keep feeding the underground comix beast.
Sordid content, twisted and unabashed, all that very messy human stuff, is only hinted at in most mainstream graphic novels. Whatever the case, great work will emerge, sometimes from a big traditional publisher. But, aside from self-published work, the really gritty stuff comes from the smaller niche publishers. Among that set, Fantagraphics is a leader in the United States. In fact, it has cultivated a particular vibe that, along with a high standard of excellence, places it in a unique position. Much angst going back to underground comix of the sixties finds a home there. This particular point of view, this grungy campy swagger, has had plenty of time to ferment into a brand. Those who are part of it find themselves deeply enmeshed in a scene: part way of life; part putting on an act. But what is an act and what is real? That’s part of the mystique. What matters in the end is the end result, a work that aspires to something bigger, a work of art.
Demons to be exorcised.
Dancing with death can tire you out so it’s good to pace yourself. The reader will see the satisfaction that comes from someone working on their craft. On one level, it’s the very act of working on a big project, whatever the content, that sustains an ambitious cartoonist. This is a graphic novel focusing on Head experiencing abuse at Chartwell Manor, a boarding school, and the years of living with that, a lifetime of living with that. This book provides a latter day underground cartoonist like Head another chance to push his style further, to level up his connection to the past, compared to all the great soul-baring cartoonists who have come before: Crumb, Gilbert Shelton, Bill Griffith, Art Spiegelman, Jack Jackson, S. Clay Wilson, Robert Williams, and so on. It’s feeding, what I call, a “persistence of style.” Like he does in Chicago, Head can evoke an extended passage about him as a young and troubled youth, walking around naked in his family home with a loaded gun, aiming it at his head and pulling the trigger, and the act of creating that into comix is not necessarily a cathartic act, as much as it’s an artistic act. That’s not to belittle at all what happened to Head at Chartwell Manor. There are definitely demons to be exorcised. That’s just to point out that Head would be a lesser artist if his main aim was to have his graphic novel simply be a therapeutic act. It’s a complicated and thoroughly fascinating journey to explore the past while navigating your way to creating art.
Chartwell Manor: A rare moment of quiet joy.
There are key moments in the book, during and after Head’s time at Chartwell Manor where he talks to his parents and tries to let them know about the horror. In an early scene, while Head is still a student there, it seems like the parents are right on the verge of knowing but don’t want to know. It’s one of those instances when you wonder if something was said between the panels. Other moments, depicted from years later, also leave the reader wondering what the parents are aware of and what they are in denial about. It’s an ambiguous thread running throughout–and done to great effect.
Where there is a will,…
All those dirty little secrets that seem to have no way of getting out! And then they do. Ways are found to vent out frustration. It’s no exaggeration to say that underground comix have a lot to do with venting out frustration! The whole autobio comics genre has weathered various cycles of backlash, unfairly labeled as heavy-handed and a way for cartoonists to use it as therapy to work out personal problems. But, at the end of the day, most readers are fine to take the risk that some work will fall short while some will rise to the highest level. Honestly, any artist worth their salt, is going to tackle some form of autobiography. And, hey, all comics of this sort, in one form or another, is a story reflecting back to its creator.
…there is a way.
It’s important to note that each book has its lighter moments. In Chartwell Manor, those moments are mostly concerned with the process of creating comics. Chicago has a more experimental vibe, even whimsical at times, as when Head stumbles upon a visit to Chicago by Muhammad Ali and nearly gets his block knocked off. The point is that Head is in a wonderful place. Like any artist at this stage of their career, Head has a treasure trove to work from, plenty to return to for future books. With Chicago and Chartwell Manor, readers can see for themselves two distinct ways of presenting similar facts and the promise of what lies ahead.
Harvey Kurtzman is a god. Of course, you can’t please everyone. Panel excerpt from HATE by Peter Bagge, 1991.
Comedy is not pretty. Isn’t that what Steve Martin concluded oh so many years ago? Well, it’s true. If humor has anything to do with revealing the truth, then it’s gonna get ugly. Harvey Kurtzman knew something about this too and was revered by other cartoonists moving up the ranks, like Peter Bagge. And, if you study Peter Bagge’s work, you’ll see the Kurtzman influence, sometimes subtle and sometimes in a direct reference.
From “What’s in a Name?” Written by Peter Bagge. Drawn by Danny Hellman.
A sample of Harvey Kurtzman: Mad #4, 1953
One of the darkest and most hilarious bit of comics I’ve read is a collaboration between Bagge as writer and Danny Hellman as illustrator. The piece is about a meeting between young aspiring cartoonist Peter Bagge and the legendary cartoonist Harvey Kurtzman. With a cutting New York sense of humor, Kurtzman is brutally depicted as a bitter doddering old man. The punchline, as it were, states that Kurtzman’s erratic behavior may have been caused by the fact he was dying from cancer; and he did indeed die not long after this infamous meeting!
Ah, and then there’s the R. Crumb influence–and that certainly makes sense, if you know anything about Peter Bagge’s work. My goal in this interview was simply to explore the process with a masterful cartoonist and hopefully end up having asked the right questions. I think what really stands out for me from our conversation is that Bagge’s outlook is that of a highly irreverent individual, as well as a sensitive and thoughtful person. So, basically, Bagge possesses a sensible mix of character traits that most of us can relate to. That is part of the magic of Hate’s main character. Everyone can relate to something about Buddy Bradley, the guy who wants to get along, but not too much!
A sample of Peter Bagge: Hate #16, 1994.
Well, that gives you an idea of Bagge’s offbeat sense of humor. Comedy, the very best and most cutting, is definitely not pretty. And so it was my goal to explore this subject with Bagge, and many other related matters! I hope you enjoy the video interview, which you can access by clicking to it down below. Peter Bagge’s work is most definitely adult fare and in the best spirit of the term. It is dark, sophisticated, and meant to elicit a world-weary cackle of recognition. Enjoy!
The Complete Hate from Fantagraphics is available November 24, 2020. Book One (HATE 1-15) focuses on young Buddy Bradley’s travails in early 1990s Seattle. Book Two (HATE 16-30) focuses on Buddy and his girlfriend Lisa Leavenworth’s move back to Buddy’s native New Jersey (and a switch from black-and-white to full color). Book Three (HATE Annuals 1-9) features the final arc of Bagge’s magnum opus, as Buddy and Lisa become parents (and buy a garbage dump). Each volume, along with the slipcase, contains new covers, endpapers, title pages, and other surprises by Bagge.
Seeds and Stems. by Simon Hanselmann. Fantagraphics, 2020. 360pp. $29.99.
It is fitting to talk about Simon Hanselmann after having recently reviewedComic Art in Museums since Hanselmann is the perfect example of a contemporary cartoonist on display within rarefied museum walls. Last year, was the show, Simon Hanselmann: Bad Gateway (April 12-Aug 11), in Seattle at the Bellevue Arts Museum. 2019 also had shows in Spain and France. Well, it’s all very fascinating since the adventures of Megg, Mogg and Owl are not rarefied at all–in fact, they are downright scatological! It’s material that would make the original ’60s underground comix creators proud. What is most compelling about Hanselmann’s work is how fiercely uninhibited it all is. A world where a witch is in a sexual relationship with a cat and a werewolf is perpetually engaged in drunken orgies with vampires is not something that just suddenly pops out of nowhere. It comes from a determined mind. A mind that takes creative risks and likes to work on the razor’s edge.
From Simon Hanselmann: Bad Gateway, BAM, 2019.
Simon Hanselmann is a serious artist making some of the most surreal and irreverent art: original, driven and purposeful. Seeds and Stems is the latest book with Fantagraphics; it collects numerous short works by Hanselmann and it helps explore the creative process. Much of it springs from work that originally appeared as minicomics. Hanselmann became a big name only a few years ago, circa 2013, around the time of a newspaper-format comic with Floating World Comics. Fans quickly grew from Hanselmann’s Girl Mountain on Tumblr. Megahex, from 2014, certainly cemented his reputation. You can read my review here. It was zines, then webcomics, books, then more zines. Seeds and Stems collects minicomic work going as far back as 2009, with most of the book covering 2016 up to 2019.
From Simon Hanselmann: Bad Gateway, BAM, 2019.
If you enjoy rummaging through B-sides and learning about the creative process, then Seeds and Stem will be most satisfying. The world of minicomics is, at its core, the entry point for emerging new talent but it can also serve as an ongoing platform for established artists. Minicomics, as the name implies, are rather humble home-made projects. That’s not to say that a minicomic is to be dismissed as amateurish, although many an aspiring cartoonist would fit that profile. To some degree, you can think of them as comparable to an open mic night at a comedy club. Minicomics are very flexible, open to being very experimental and even treated more like a sketchbook than finished work. So too with young comics on stage not bothering with appearances and reading material right off their phone. That said, minicomics can also be highly polished works all to themselves. With that in mind, you are in for a treat with this collection.
The Complete Works of Fante Bukowski. By Noah Van Sciver. Seattle: Fantagraphics Books, 2020. 452 pp. $39.99.
Noah Van Sciver is an interesting cartoonist. He’s long graduated from being one of “those to watch” to an artist with a substanital track record. As a cartoonist myself, I admire and appreciate what he’s doing. He is best known for his lovable loudmouth character, Fante Bukowski, a confused mashup of Charles Bukowski and John Fante. The ongoing joke here is that Fante Bukowski is a perpetually aspiring writer, both artless and clueless. If you haven’t jumped on the Fante Bukowski bandwagon yet, now is the time with the release of The Complete Works of Fante Bukowski, which collects every mishap and stumble all the way on a crazed quest for fame and fortune.
Fante dreams big.
I think that Fante is a very successful character. Van Sciver has developed something that people can easily relate to. Despite the fact that Fante is associated with the literary crowd, there’s nothing highbrow about him. If nothing else, Fante is accessible. You can think of him as the Homer Simpson of lost souls. In a higher sense, Fante is a perfect vehicle for Van Sciver to skewer any lofty notions about art. But even suggesting this may only make Van Sciver laugh. For something really serious and dark, he’d direct you to his graphic novella, Saint Cole. There’s definitely loads of irony and irreverence attached to Fante. On a more basic level, you can replace any literary stuff in here (replace it with general office culture, academia or even indie comics culture) and enjoy this as a story about a guy who is not much more than a professional wedding crasher, a latter day Groucho Marx out to expose hypocrisy and pretentiousness in all its many forms even if he’s not aware of it. The character is funny, gets into silly situations, and will make you laugh. But there’s more.
Fante Bukowski demands to be taken seriously as a writer. Van Sciver presents us with the journey of a misguided young man who really has no great talent, skill or genuine passion. Fante simply feels entitled to be a success. Fante will make some effort, just the bare minimum, towards his dreams, and expect instant results. His bare minimum efforts are garbage but he refuses to take no for an answer. All in all, this is very funny stuff. Imagine Steve Martin, in his prime, in the role of Fante. Or Ricky Gervais. However, given all the work it took to set up the premise of Fante, it would have been interesting if the satirical aim was a bit more precise if that were possible. As it is, Fante does indeed have hilarious moments like when he’s courting favor with a “literary journal” he’d like to have his work in, the Firewarter Journal, with such a perfectly pompous name and a circulation of a dozen to match. These are the sort of pleasant jabs that you might expect from the comic strip, Doonesbury, but more generic. Ultimately, Van Sciver succeeds by keeping his humor broad.
A romantic but stupid idea of being a writer.
Van Sciver seems to root for irreverence more than anything as a way to move things along. He doesn’t want anything to be taken too seriously, including his own work. He’s not trying to be Dash Shaw. And he doesn’t seem to aspire to write a true comedy of manners like cartoonist Posy Simmonds although he does a fine job with the social commentary he does end up doing. More importantly, he has definitely invested quite a lot in the idea that Fante Bukowski is a clueless young loudmouth who is completely absorbed with entitlement. That alone is key. A lot of other tidbits up for satire can be lightly played with. The big takeaway is that Fante Bukowski is a young empty suit. He feels he is owed something with apparently nothing to show for his outrageous demands. If, in spite of this fact, Fante did find his fame and fortune, then the joke would truly be on us.
While much care has been taken, Van Sciver has also made sure to leave a certain amount of a raw quality to what he does–and there is a long-standing tradition for that in indie comics and in art in general. You want to avoid getting too polished, too slick. You want to look the opposite of “corporate.” So, you’ll see the artwork is only refined up to a certain point. Some cartoonists, for example, will deliberately misuse digital coloring to subvert the idea of making things look too pretty. Van Sciver, for example, could have easily chosen a way to seamlessly clean up any mistakes in his text but he wants you to be aware of them. He has pasted over by hand every correction to his text and made it so that you clearly notice it. Whatever the reason, it reads as a style choice.
Unlucky in love.
Following this subversive impulse, Van Sciver does the same for the actual story. Nothing is supposed to be taken too seriously–and that does make sense when you’re poking fun at all those “highbrows” who take themselves too seriously, right? That notion is where you might find some subtext. Van Sciver peppers his comics with all sorts of quotes from various famous writers and artists and, within this loopy context, even the best lines from Hemingway or Fitzgerald all sound like sayings from fortune cookies. For a book that seems to be in it just for laughs, taking a blowtorch to the old masters has some bite to it. But no one really wants to topple truly great writers, do they? Maybe so but going down that rabbit hole is a pretty tall order. In the end, it seems that we’re supposed to turn our gaze back to Fante Bukowski and maybe pity the poor fool.
Noah Van Sciver is an Ignatz award-winning cartoonist who first came to comic readers’ attention with his critically acclaimed comic book series Blammo. His work has appeared in the Best American Comics and the Fantagraphics anthology series NOW. Van Sciver is a regular contributor to Mad magazine and has created many graphic novels including The Hypo and Saint Cole. His latest, The Complete Works of Fante Bukowski, collects all three volumes of the Fante Bukowski series in an expanded hardcover edition with extra features and special material. His follow up, Please Don’t Step on My JNCO Jeans, will be published in December.
Autobiographical work is one of the most intriguing subjects and it is no wonder that it attracts creators of all art forms. Of course, auto-bio is a natural focal point for cartoonists and one of the best at this is cartoonist auteur Ulli Lust. Her new graphic novel, How I Tried to Be a Good Person, published by Fantagraphics Books, is what one could call an unflinching look at “the dark side of gender politics” or what used to be called, plain and simple, “abusive relationships.” It’s quite a challenge to take a chunk of one’s life and turn it into something else. Not too long ago, I viewed the Off-Broadway production of Accidentally Brave, a retelling by actor and playwright Maddie Corman of her discovery of her husband’s possession of child pornography, his subsequent arrest, and its aftermath. Can such an experience add up to something to put on stage? Well, sure, it’s called a confessional monologue and those rise and fall according to the limits of the genre. In a similar fashion, that’s what going on within the pages of auto-bio comics. And a lot is going well with this auto-bio graphic novel set in 1980s Vienna.
Georg and Kim size each other up.
How I Tried to Be a Good Person is 368 pages and in the tradition of more expansive graphic novels like Craig Thompson’s Blankets, which is 592 pages or Eddie Campbell’s Alec and Bacchus collection, which is a total of 1750 pages. Also, keep in mind, this new book is a continuation of Lust’s 460-page punk travelogue, Today is the Last Day of the Rest of Your Life. Why so many pages when a graphic novel is usually 100 to 200 pages long? Well, many reasons. Essentially, it is a way to truly get lost in the material. While the comics medium is inextricably linked to the art of brevity, it is just as closely linked to flights of fancy and stream of consciousness writing. With that in mind, it is understandable how comics can rise to the level of the literary arts. Comics has the capacity to be as long or as short as the narrative demands. Comics is as much a literary art form as a visual art form. Lust’s previous graphic memoir has gone on to earn a Revelation Award at the 2011 Angouleme Festival as well as a 2013 LA Times Book Prize. Ulli Lust’s contributions to the comics medium are writ large with both of her graphic memoirs.
A happy time with Georg.
The core of the narrative to Lust’s new book is the abusive relationship that Ulli enters into with Kim, a refugee from Nigeria. Throughout the relationship, there are signs that Kim is not emotionally equipped to handle the polyamorous arrangement that Ulli has in mind. During the course of this book, the reader joins Ulli on what steadily becomes a perilous journey. Ulli Lust writes and draws her way toward making sense of events while leaving plenty of room for readers to reach their own conclusions. In some ways, the book brings to mind some of the most notable emotionally-wrought films focusing on sex, like Last Tango in Paris, from 1972, which has held up remarkably well. Lust offers up to the reader numerous pages of unbridled sexual pleasure between her and Kim. Undoubtedly, Kim and Ulli are good together in bed. At one point, Ulli even states that she wishes she could just have the good parts of her affair with Kim.
A complicated relationship.
The love triangle that Ulli finds herself in begins with a May/December relationship she started up with Georg, an older man who offered a lively bohemian spirit and intelligent albeit world-weary conversation. It is Georg who, in hindsight, wrongheadedly suggests that Ulli take another lover if that should help keep their relationship fresh. Ulli is 22 and Georg is 40. Ulli takes Georg up on his offer and, in no time, she becomes involved with Kim, a young man she meets at a club. Georg and Ulli are white. Kim is black. Race does not seem to be an issue at first but it’s not long before Kim repeatedly voices his unease with the racial dynamics at play as he sees them. He is convinced that he is only a racial treat for Ulli despite her denials. At many points along the way, Ulli has to make one choice after another, many of which only drag her further into the toxic relationship she has entered into with Kim. This is quite a compelling work that encourages the reader to perhaps have even more courage than the main character seems to have at times. It is definitely an absorbing work that will spark a great deal of discussion and lifts that discussion through the power of the comics medium’s unique synthesis of word and image.
How I Tried to Be a Good Person is a 368-page trade paperback, published by Fantagraphics Books.
I am a great supporter of alternative comics and the pursuit of excellence in the comics medium. That means sometimes taking a ruler and wrapping the knuckles of a cartoonist during a bit of constructive criticism. And it means celebrating a work when everything goes right as it does in Hobo Mom, by Charles Forsman and Max de Radiguès, published by Fantagraphics. Hobo Mom gets it right by pursuing a line of specificity to its logical conclusion. Just like a finely-executed novel or painting, all the elements fit into place at a resounding level of precision.
This is the story of a woman who can’t settle down. The open road is in her blood and she is willing to pay the price for her unconventional freedom. Charles Forsman presents his most disciplined artwork to date in seamless collaboration with the script by Max de Radiguès. The pacing is impeccable as you follow one extended scene after another. It’s magical how Forsman and de Radiguès balance so much in a relatively short work. At 62 pages, you need to be prepared to pare down to the essentials in order to give the narrative a natural flow. This is undoubtedly achieved as the reader gets a rich experience within a tight framework. Everything needs to count, down to every panel, ever facial expression, every pause. You need to know what to linger on and when to move on.
Page excerpt from HOBO MOM
Take the first four pages. The first page begins with a big panel that depicts an inviting breakfast being prepared on a skillet taking up half the available space. The next four panels convey a happy relationship between father and daughter, a stable domestic scene. With that established, the next three pages have the luxury of lingering over this happy home: dad goes off to work; daughter tidies up; daughter begins her day; daughter finds comfort in the company of a family pet. Now, we’re ready to move on to what is going on with the absent mother. A rhythm has been set up allowing for the alternating of scenes and characters. Will the hobo mom reconnect with her family or is it just not possible? Here is a book that asks the right questions and lets the reader step in. This book is a prime example of what it possible in the comics medium.
Hobo Mom is a 64-page duotone hardcover, published by Fantagraphics.
This is a very meta thing to be doing but here’s a review of a magazine that features reviews. Dating back to 1977, in its heyday, The Comics Journal was a monthly source of comics news and reviews, a trailblazer for the burgeoning field of comics journalism and criticism. It has always maintained a certain quirky attitude, consisting of a mix of features and topped off by a expansive soul-searching interview a la Playboy magazine. It mainly attracts those who consider themselves comics aficionados. In 2013, it ceased its print version, staying online, but now it makes its return to print with Issue 303. TCJ returns this month with new editors RJ Casey and Kristy Valenti.
Now, I go pretty far back. I have fond memories of picking up this magazine at Tower Records back in the day (circa 1995), usually with a recent release from Sub Pop Records. I also fondly recall a special dynamic, or synergy, at play between the magazine and its online counterpart that led many of us to the forums section that let you interact with subgroups within subgroups of people in the comics community. This was long before Facebook or social media as we know it today. I think the monthly magazine, as we knew it back then, is still sorely missed. Towards the end of its print run, it came out less often and each issue covered a big theme and came out in different sizes. The consistency of a monthly had been lost. I think, in a perfect world, this latest return to print would do well to go back to that monthly format. Alas, with this latest #303, we’re seeing the start of a twice-a-year format. You might argue that TCJ is simply working with today’s print reality and is offering up a taste to a new generation of what is possible.
The showcase item in this issue is, of course, TCJ founder Gary Groth’s interview with a legendary firebrand, the satirist and children’s book author, Tomi Ungerer. For those of you unaware of Mr. Ungerer’s impressive career, I highly recommend that you read this interview and, before or afterward, check out the 2013 documentary, “Far Out Isn’t Far Enough,” directed by Brad Bernstein. The title is one of Ungerer’s sayings, along with “Don’t Hope, Cope” and “Expect The Unexpected.” I interviewed the documentary’s director and its writer and the fact that Ungerer is a true force of nature was the overriding theme. So, it makes perfect sense for someone as outspoken as Groth to sit down and talk it out with someone as outspoken as Ungerer! It’s a match made in heaven.
From Ben Passmore’s story in Now: The New Comics Anthology #3, published by Fantagraphics
Among the various features to be found here, you’ll find them under such titles as “From the Trenches” and “Fair Warning.” For example, under the former is a think piece by cartoonist Ben Passmore, who shares his insights on the alt-comics scene from an African American perspective. And, under the latter, you will find an interview by RJ Casey with emerging comics talent, Fifi Martinez. The thing to always remember about TCJ is that its focus is a serious look at comics as an art form. That leaves little room, if any, for superhero comics, per se. What you’ll mostly find here is a focus on the independent artist-cartoonist. It does a heart good to see cartoonists like Passmore and Martinez provided with a platform.
Ultimately, TCJ remains what it’s always been, a valuable resource that is most appreciated by those who take the comics medium seriously. It’s a niche audience but a fiercely loyal one. In the new more fragmented world we live in, it’s all about niches. That is actually a very positive thing. And niches are supposed to attract outside readers too, right? You can only calculate so much as to how strong a presence you can make on today’s newsstands. For some special readership out there, it will be a great treat to see TCJ on a shelf. Newsstands aren’t going away anytime soon from such places as Barnes & Noble, specialty shops, comic book shops, and even airports. TCJ might just want to make a real push into these venues and see how it goes. I asked about TCJ at my local B&N as well as the Pike Place Market newsstand, one of the granddaddies of newsstands. Neither place had ever heard of TCJ or had any plans to carry it. I asked around a couple of nearby comics shops. They heard of it but were not carrying it. This is TCJ’s return to print, right? Let’s see it out there in the real world.
The reality is that creating any kind of magazine, digital or print, is a big challenge. Everyone in the comics community is rooting for TCJ to make as big of an impact as it can. Those of us already in the choir, can keep singing its praises and wish it well. You can find your copy of TCJ #303 by visiting the Fantagraphics store right here.
Destiny City Comics & Arts Festival on February 16, 2019
If you are in the Tacoma area, do plan to visit Destiny City Comics & Arts Festival on Saturday, February 16th, from 2-8pm, located at 218 St Helens Ave. This will be an intimate comic arts festival gathering of a dozen or so local creators.
The following are just a few samples of the poster I created for the show making the rounds. While this show is in Tacoma, our neighbors in Seattle are certainly welcome. So, here are some examples of my canvassing around Seattle with at least one landmark clearly visible!
Long Live Destiny City Comics!
The Comics Journal #303
The special guest is RJ Casey editor of the long-awaited new edition of The Comics Journal #303 from Seattle publisher, Fantagraphics. I definitely look forward to the return in print of the venerable publication that has a long history of covering the comics scene. Pre-order your copy of The Comics Journal #303 right here. And visit the journal’s website right here.
For more details, visit Destiny City Comics right here.
Graphic novels that explore a particular passion can prove to be the most relatable for a wide audience. Consider the new graphic memoir by cartoonist Carol Tyler (Soldier’s Heart). Her new book is entitled, Fab4 Mania, published by Fantagrahics Books. Who doesn’t love the Beatles? Tyler’s book looks back at the Fab Four from her own point of view. The full title of this work is Fab4 Mania: A Beatles Obsession and the Concert of a Lifetime and therein lies our premise and plot.
Tyler’s experience is essentially the same thing that happened to countless young people, circa 1965, up to a point. Where it diverges is exceptional. One big distinction is that this kid got to go to a famous ’65 Beatles concert in Chicago. The greater distinction is that the reader is following Tyler’s journey full of personal recollections and idiosyncratic appeal. This is an 8th grade girl revealing her innermost thoughts. It all adds up to a wonderful coming-of-age read.
If you enjoy young adult themes, this book is definitely for you. Filled with over a hundred warm and inviting drawings in full color, this is a true tale that will sweep the reader away with its authentic flavor. Tyler has meticulously recreated the diary that she kept throughout that pivotal Beatles year of 1965 to create a treasure trove of insights and humor.