Category Archives: Phoebe Gloeckner

Review: THE BEST AMERICAN COMICS 2018

THE BEST AMERICAN COMICS 2018

The Best American Comics 2018, with series editor Bill Kartalopoulos, and editor Phoebe Gloeckner, is another impressive collection of comics that are offered to the reader as among the best of the last year. Think of it as a comics art festival all in one book. Don’t expect much in the way of mainstream comics: no big publishers, let alone superheroes. What you will find a great deal of is a treasure trove of activity on the fringes.

While comics can be created in a myriad of ways, some patterns hold true. The most distinctive common trait is that work in the alt-comics scene is usually the work of one original voice that knows the work best and is compelled to shout it from the mountain tops with little or not additional assistance. Here are some examples for this year’s BAC anthology:

Kevin Hooyman

Kevin Hooyman fits more into the heroic mold of the hermit cartoonist. There are any number of glorious examples of this type of commitment. It leads to some of the most idiosyncratic, and compelling, work around. People can take sides and claim this is the only kind of comics that really matter. The truth is that including Hooyman’s work in this alt-comics anthology helps to set the tone and continue to build on what is possible in this medium.

Richie Pope

Richie Pope is an excellent example of an indie-pro hybrid. It happens and more often that you might think: a rebel/eccentric who, when he is assigned a client, will naturally keep to deadlines and go to meetings. Consider Pope’s work to have that extra professional snap and polish.

Lale Westvind

Lale Westvind is another hybrid. This time: cartoonist-animator. This is always an intriguing combination of skill sets. Westvind can bring to bear her rigorous animation background in the service of art comics–giving it that added lift.

Tara Booth

Tara Booth is another example of a cartoonist identifying as an outsider and challenging the reader, whether mainstream or not. That said, she’s also a masterful artist with a deceptively simple style.

Max Clotfelter

Max Clotfelter is high on the list of cartoonists who aim to provoke. He is a guerilla artist who defies the general reader’s expectations. It’s an ethos rooted in punk and DIY: the more raw and simple the better. A more raw approach is something cartoonists like Art Spiegelman advocated and yet, as underground cartoonists progressed in what became actual art careers, refinement was never far behind raw. So, the balancing between the raw and the cooked will go on.

Geof Darrow

Geof Darrow is another independent cartoonist who is also at home with big publishers like Dark Horse Comics from which Darrow’s piece in the book originally appeared. Darrow is a shining example that technical skill and masterful creation within the traditional structures of comics is something to celebrate and not distance one’s self from in favor of seeking out the most experimental of creators.

Bill Kartalopoulos has much to be proud of in all his efforts to support and to better understand the ever-shifting world of contemporary comics as an art form. He makes choices as to what may end up in the book. Then an esteemed guest editor makes the final calls. After that, well, it’s up to the selected creators to take it from there. Some may find themselves relatively rising and some may find themselves relatively coming up short. And others may just slip out the back door and never be heard from again.

The Best American Comics 2018 is a 416-page hardcover, in b&W & color, published by Houghton Mifflin Harcourt. Visit HMH right here.

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Filed under Anthologies, Best American Comics, Bill Kartalopoulos, Comics, Phoebe Gloeckner

Movie Review: ‘The Diary of a Teenage Girl’

Phoebe-Gloeckner-The Diary-of-a-Teenage-Girl

Just like “Ophelia,” in John Millais’s 1852 painting, submerging in the waters, so too 15-year-old Minnie Goetze floats and then descends the depths of her bathtub. We see her nude body sinking down the blue-green of her own misery only to resurface as a finely-drawn portrait by the same Minnie Goetze. Welcome to “The Diary of a Teenage Girl,” based upon the book of the same title by cartoonist and writer Phoebe Gloeckner. This is Gloeckner’s fictionalized account of her sexual awakening, circa 1976, at the age of 15 at the hands of a 35-year-old man, the boyfriend of her mother. By all counts, this is a story of rape and incest. Through poetic license, the raw source material is transcended and another transformative story rises from the brackish waters from which it came. And it is up to audiences if they will accept such a journey.

Bel Powley channeling Millais's 1852 painting, "Ophelia"

Bel Powley channeling Millais’s 1852 painting, “Ophelia”

Phoebe Gloeckner took her reality of rape and incest and shaped it into fiction. And then writer-director Marielle Heller took that fiction and adapted it for her film. With a safe distance from the actual events and persons, an uninhibited and honest story is possible. It turns out that 15-year-old Minnie Goetze appears to be empowered by the sexual relationship with 35-year-old Monroe. It’s San Francisco in 1976, experimentation with sex and drugs is in the forefront. Minnie, ill-equipped to navigate through the loopy zeitgeist, finds herself lost and on a classic downward spiral: she has a threesome, drops acid and performs oral sex in a bar bathroom while pretending to be a prostitute. All this happens without any judgment placed upon her.

Okay, just go and read Phoebe Gloeckner's "The Diary of a Teenage Girl"

Okay, just go and read Phoebe Gloeckner’s “The Diary of a Teenage Girl”

This is a complicated film. It is, after all, adapted from a complicated, and quite extraordinary, prose and comics hybrid. It can not be encouraged enough that, if the movie grabs your interest, then you must read the book. In a one-of-kind fictionalized memoir, Phoebe Gloeckner expresses her story in a way that you need to read to believe. In the end, her goal was to create a greater truth. The movie follows closely but, my its very nature, tells a story with a different tone and view. Gloeckner addresses these shifts from her work to the film in this insightful interview with the A.V. Club right here.

Phoebe-Gloeckner-comics

Bel Powley portrays Minnie with a wide-eyed broad innocence. In somewhat a similar sense, so does Kristen Wig as Minnie’s mother, Charlotte. And, in his own way, so does Alexander Skarsgård as Monroe, Minnie’s predatory Lothario. It’s the self-conscious attempt to evoke the act of reading Gloeckner’s unique work that can be problematic. Gloeckner’s narrative is prose followed by an illustration followed by comics and more prose and so on. The crux of the problem of translating Gloeckner’s vision into film is that it really is virtually impossible: you are really walking into a land mine when you mix comics, film, and address rape and incest. Parts of the film seem to read as too cartoony when, paradoxically, the same scene in Gloeckner’s comics does not read so much as “cartoony” as simply entering a different world, reading something within a different world. The film, even if it doesn’t intend to, seems to take its subject too lightly.

Phoebe-Gloeckner-movie

Not to sound too much like Marshall McLuhan, but when you read comics, you are reading and, when you see something evoking the feeling of reading comics, which happens often in this film, you are reading the content and the medium, and that can be very distracting. It can also be a wonderful combination of distraction and entertainment like the multi-layered tribute to the grand curmudgeon Harvey Pekar in “American Splendor.” If you have a lighter subject, you can get away with much more. But with the double whammy subjects of rape and incest, it raises the stakes so high as to be a virtually insurmountable challenge. With all that said, this is a very unique film. All I can is that I’m happy to find that this 15-year-old character is in the very capable hands of 23-year-old Bel Powley.

“The Diary of a Teenage Girl” is a film that will definitely challenge you. But, keep in mind, to best appreciate what this film is doing, read Phoebe Gloeckner’s book. A new revised edition, published by North Atlantic Books, an imprint of Penguin Random House, has just been released. You can find it at Amazon right here.

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Filed under Autobio Comics, Autobiography, Comics, Movie Reviews, movies, Phoebe Gloeckner