Here are two cartoonists that need to be on your radar, David Lasky and Greg Stump. And, if you’re in Seattle, then you have an opportunity to take a very special comics course from them. This is an in depth look at “graphic humor,” as expressed by artists, writers, and cartoonists. “Graphic Humor” is a 6-week course at Hugo House: Saturdays from 1 to 3pm, starting April 13 – and is described in the Hugo House catalog:
“Two experienced, allegedly funny cartoonists will guide you through the process of creating a wide range of humorous comics, from New-Yorker-style gag cartoons to page-long stories, rants, and satire. We’ll examine work—from subtle to slapstick to surreal—of some of the medium’s funniest artists and writers en route to generating material for a class anthology comic book. While prior drawing/cartooning experience may be helpful for this class, it isn’t absolutely essential; however, be prepared to collaborate and share work.”
Comics by Greg Stump
Lasky and Stump aim to reveal a wide range of techniques and approaches to humor through a variety of prompts, forms, and experiments. The list of artists and writers covered in the course include Dan Clowes, Julie Doucet, Will Elder, Lynda Barry, Raymond Pettibon, Donald Barthelme, Kate Beaton, Saul Steinberg, Edward Gorey, Lisa Hanawalt, Jeffrey Brown, Ernie Bushmiller, Joe Brainard, David Shrigley, and many others. Students will work towards creating a comic book at the end of the sessions which everyone will contribute to and receive a copy. This is the first time Stump and Lasky have focued on humor for one of their courses. They look forward to engaging with their students.
Here are two wonderful writers for young adults from Macmillan’s imprint, Feiwel & Friends, and the Fierce Reads celebration of YA reading. Alexandra Christo, author of To Kill a Kingdom, and Tricia Levenseller, author of Daughter of the Pirate Kingand Warrior of the Wild,have hit the road together on the Monsters & Sirens Tour. It’s an even bigger deal for Alexandra Christo since she’s come ALL THE WAY from the UK to team up with Tricia Levenseller for this 6-stop tour. I was able to catch with both of these authors during their Seattle stop for Emerald City Comic Con. View the interview by just clicking the link below:
Both authors provide exciting novels which each feature main characters on a quest. And not just any ole quest, each of these adventures could mean life or death. Below I provide a synopsis for both books:
WARRIOR OF THE WILD by Tricia Levenseller
As her father’s chosen heir, eighteen-year-old Rasmira has trained her whole life to become a warrior and lead her village. But when her coming-of-age trial is sabotaged and she fails the test, her father banishes her to the monster-filled wilderness with an impossible quest: To win back her honor, she must kill the oppressive god who claims tribute from the villages each year or die trying.
TO KILL A KINGDOM by Alexandra Christo
Princess Lira is siren royalty and the most lethal of them all. With the hearts of seventeen princes in her collection, she is revered across the sea. Until a twist of fate forces her to kill one of her own. To punish her daughter, the Sea Queen transforms Lira into the one thing they loathe most—a human. Robbed of her song, Lira has until the winter solstice to deliver Prince Elian’s heart to the Sea Queen or remain a human forever.
Sunday, March 17: Emerald City Comic Con (Seattle, WA) Monday, March 18: Interabang (Dallas, TX) Tuesday, March 19: Main Street Books (St. Charles, MO) Wednesday, March 20: Red Balloon Bookshop (St. Paul, MN) Thursday, March 21: Boswell Books (Milwaukee, WI) Friday, March 22: C2E2 (Chicago, IL)
Warrior of the Wild is a 336-page hardcover (ages 13-18), published by Macmillan. For more details and how to purchase go right here.
To Kill a Kingdom is a 352-page hardcover (ages 13-18), published by Macmillan. For more details and how to purchase go right here.
It Occurs to Me That I Am America: New Stories and Art
What does it mean to be American in these strange times we live in? We have someone in power who behaves like a self-serving gremlin, determined to dismantle and foment unrest, boasting a horribly inarticulate screed. Here is a collection from some of the most respected names in the arts that acts as an answer to what it is to be American. It is entitled, It Occurs to Me That I Am America: New Stories and Art, published by Touchstone, an imprint of Simon & Schuster. This title came out in 2018 and it deserves to be on everyone’s radar in 2019 and for years to come.
Vote Hillary by Deborah Kass
Sometimes, perhaps too often, we get such a gem of a book that deserves a whole new shout out. Let me run through for you what makes this one special. Gathered within 375 pages are works by talented artists and writers all tackling a common theme in refreshingly unexpected ways. The book is edited by celebrated artist and novelist Jonathan Santlofer, with an introduction by Pulitzer Prize winning novelist Viet Thanh Nguyen. The roster of creators runs the gamut from exciting new talent to established legends. Each piece is a highly original voice. You’ll find, for instance, Hate for Sale, by Neil Gaiman, a poem tailor-made for today and yet unnervingly timeless. Or how about Joyce Carol Oates, “Good News!”a cautionary tale that nicely channels Ray Bradbury.
Little House on the Prairie Holding Company LLC by David Storey
Among visual art, one that immediately strikes just the right defiant tone is Vote Hillary, by Deborah Kass, a screen print channeling Andy Warhol with Trump replacing Nixon as the subject. Another compelling piece is The Ugliest American Alphabet, by Eric Orner, where he recounts all that is dismaying about Trump using every letter of the alphabet. Some other thoughtful work in comics comes from Roz Chast with Politics; and from Mimi Pond with Your Sacred American Rights Bingo. And one of the most beguiling works in comics in this book is a tryptic by Art Spiegelman. To be sure, all the work here is not espousing one particular point of view. You’ll find a bit of everything when it comes to articulating all things American. It’s not as easy as simply pointing fingers. It’s complicated, right? All in all, you have 52 distinctive voices here sharing with you just how complicated it all is in the best spirit of vigorous critical inquiry.
Your Sacred American Rights Bingo by Mimi Pond
I will finish up here by taking a closer look at the piece by Alice Walker, Don’t Despair. It is one of the shortest works and comes towards the end of this collection. She recounts how growing up in rural Georgia, all white men seemed to be like Donald Trump, petty and hateful. She looks back and wonders how she survived those times. Part of the answer is that Walker comes from a long line of ancestors who chose to live or die on their feet. Her family would survive, even proper, in the tiniest of spaces allowed to them by white people. Fast forward to today, Walker asks Is living under a dictatorship all that of a surprise? Her solution: Study hard! Study who you’re really voting for! And don’t rely on just voting for someone! “It is our ignorance that keeps us hoping somebody we elect will do all the work while we drive off to the mall.” Walker isn’t just offering hope. As she puts it, she’s offering counsel. Real change is personal and involves relating with each other. It is a time for an awakening and the choice is ours.
The Ugliest American Alphabet, by Eric Orner
It Occurs to Me That I Am America: New Stories and Art is a 375-page hardcover, with black & white and color images, published by Touchstone, an imprint of Simon & Schuster.
The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt
Jerome Charyn is one of those rare breed of writers able to write some of the most earthy stories involving some of the most larger-than-life figures, everyone from Marilyn Monroe to Teddy Roosevelt. For TR, Mr. Charyn pulls out the stops offering up the man in his own voice, a magnificent mashup of macho and aristocrat. Bully! TR, as he looks out from Mount Rushmore, remains one of our greatest personifications of America. And with his new novel, Jerome Charyn completes his run at Rushmore. He managed to tackle Washington and Jefferson in 2008’s Johnny One-Eye. He dug deep into the psyche of Lincoln with 2014’s I Am Abraham. And now we have The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt, published by Liveright, a division of W.W. Norton & Company.
Indeed, TR was a manly man right down to having a mountain lion on a leash as his pet. It’s during the Rough Rider period of his life that we first meet this big cat, Josephine. She was the mascot for TR’s own cowboy regiment off to fight in the Spanish–American War in 1898. An invasion of Cuba did not officially call for men on horseback. However, TR had other ideas. As an act of sheer will, TR got his Rough Riders. This excerpt offers a taste of this most quintessential TR adventure. Here we are just as U.S. armed forces begin departure to Cuba joined by the now celebrated Rough Riders:
We were mobbed at every station along the route. Folks welcomed us to their own little war parades. Half-mad women scribbled letters to Rough Riders they had never met and would never meet again. Some proposed outright marriage. A few of our bravos fancied a particular lady and disappeared from our caravan of seven trains. Leonard cursed their hides. But these bravos managed to find us at the next station, or the next after that. A horse died of heatstroke, but we didn’t lose a bravo, not one. People would shout from the tracks, “Teddy, Teddy, Teddy,” and I realized why the Army regulars hated us so. We had captured the imagination of blood and battle somehow–the Rough Riders represented the romance of war. We could have risen out of some biblical rapture. The Army couldn’t compete with cowboy cavaliers.
Let’s shift gears to another aspect of the storyteller’s bag of tricks. Here’s a taste of the pulp fiction action adventure vibe found here:
I had clocked twenty minutes, like pulse beats in my temples. Winters-White kept me from plummeting into that gnarled jungle floor. He tapped me on the shoulder and removed the blindfold. We were in a slight clearing, a bald patch without a single root or tree. And in this clearing was a canvas chair that might have come from a general’s tent. A man in a pince-nez and cowboy neckerchief sat in that chair. I’d have guessed he was my age–a few months shy of forty. He had a jeweler’s nimble hands. His mustache was almost as red as mine, and his eyes were probably just as weak. I couldn’t imagine him as a sniper, shooting at children and nurses from the Army Nurse Corps. Yet here he was, in the green uniform of a Vaquero.
“We’ve met before,” he said in a slight accent.
Wouldn’t it be something to see a Cowboy King movie? There is room for a sequel as this novel covers Roosevelt’s life right up to September 6, 1901, the assassination of President William McKinley, a day that would catapult TR as far into the arena as he had ever dared possible. That said, you really don’t need to look any further than this novel. Cowboy King is a novel at its best: engaging, immersive and compelling.
Teddy Roosevelt, an American original.
The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt is a 286-page hardcover, available as of January 8th, published by Liveright. And be sure to visit the Jerome Charyn website where you can purchase a signed copy.
I’ve recently been taking a look at some work by artist/writer Ariel Schrag. I’m becoming more familiar with her comics and I decided to read her prose novel, Adam. While reading it, I also became aware of the controversy surrounding this novel which will debut in 2019 at Sundance. I’d just gotten a quarter of the way into the novel and wondered just where these snarky kids were heading. The book depicted the author’s take on callow youth and gay culture and so I pressed on. I do understand why some people will find the book problematic. Still, it’s useful to stick with it to the end to study one writer’s process.
I’ll cut to the chase and say that Ms. Schrag’s book aims to be in the tradition of provocative novels. The characters do and say a number of nasty and questionable things and then there are also moments when Schrag dials down the snark. Here is an example, a scene that finds the main characters at a predominantly transgender gathering:
“Clarification on gender was indeed necessary. Looking around at the group, it was as if a hatful of pronouns written on scraps of paper had been thrown into the air, each group, sometimes two, landing randomly on a person, regardless of what he or she looked like. Adam had gotten used to boyish girls turning out to be trans, the general rule that masculine = he and feminine = she, but here at Camp Trans it was a free-for-all. You couldn’t be sure of anything, except that you were most likely wrong.”
So, yeah, the book has a cocky snarky vibe, an attempt to channel the great Holden Caulfield tradition of snark. It’s when an ambitious young writer feels compelled to be provocative that things will heat up for sure. The big controversy revolves around the premise of the main character, Adam, a 17-year-old straight man becoming involved with Gillian, a 22-year-old gay woman, by both lying about his age and, far more significantly, lying that he’s a female-to-male trans person. That premise is rubbing a lot of people the wrong way. You have people in the trans community saying the book is exploitive. You have the author saying the book is meant to open up a discussion. Ms. Schrag has gained notoriety over the years for her memoir comics. She is an openly gay woman who has focused on young adult themes. She has written for television, including writing for Showtime’s The L Word.
The big point of contention against this novel comes down to the idea that the main character, Adam, is essentially getting away with rape as he’s in a sexual relationship through deception. For most of the novel, Adam isn’t getting away with much as he’s depicted as being fairly creepy. Towards the end that changes when Schrag drives her novel over a cliff with an abrupt shift. Adam begins his journey as a stand-in for just an average guy, yet another typical banal young person, while Schrag steadily turns up the heat. He easily falls into fantasy. He’s so selfish that, despite all the warning signs, he continues to deceive his lover in the hopes that his fantasy will come true and she will ultimately overlook his gross betrayal.
Looking at this from a creative point of view, it is very interesting to see a cartoonist like Schrag developing into a full-on prose writer. Any number of cartoonists find themselves juggling/struggling with two distinct disciplines (writing and drawing) that are supposed to meld into one (comics). Well, the comics-making process is a whole world onto itself with many potential variations, detours and pitfalls. It’s a delicate balancing act. And, if a creator favors writing a little more than drawing, that can tip the balance. For Ms. Schrag, it seems that more often than not, when she puts pen to paper, it is only words she seeks. Deep into making a novel all out of words, those words can take on a life of their own a little more easily than within the framework of a well planned out graphic novel with storyboards and various anchors. You choose your words that much more carefully when you create a graphic novel in comparison to commanding a ship of words in a novel. You set sail for vast ports unknown. You can lose yourself in your discourse and take your mighty vessel way off course.
You get away with less in comics. You can be instantly held accountable. Stuff can get buried in a prose novel. All those words! Ms. Schrag can engage in some anti-Semitic rhetoric and no one will call her on it since the focus is on her depiction of the trans community. Around the middle of the novel, Schrag builds up to what she deems a joke involving her inept and money-grubbing Jewish landlords. Analyzed as a joke, the mechanics and execution fall flat. It’s inappropriate and serves no purpose other than to underscore the fact that the characters are prone to being intolerant and hurtful and that has already been well established. It’s a joke that would make the legendary cartoonist provocateur Robert Crumb blush mostly because it’s so not funny. You just can’t get away with stuff like that in comics. In contrast to this novel, Ms. Schrag’s recent collection of comics, Part of It, indicates a more restrained, and even polite, approach.
Ms. Schrag has said about all the controversy attached to this novel: “People are really angry specifically about appropriating an oppressed identity. I just think that’s fascinating to think about because what is so terrible about appropriating an oppressed identity?” That’s a gutsy remark with consequences attached to it. Writers can choose to provoke but then it’s fair game to listen carefully to the response. Just because you belong to a group doesn’t mean you need to shake it to its core. But for those writers who can’t resist shaking things up, they will need to be open to criticism. In this case, there’s a movie version coming out and that will undoubtedly provide another opportunity for more discussion and more controversy.
Jonathan Santlofer is a successful artist and novelist. I had the privilege of hearing him read recently as he shared the stage with two other distinguished writers, Neal Thompson and Wendy C. Ortiz, at a panel on memoir writing at Hugo House in Seattle. Later, in person, I asked Mr. Santlofer if he ever considered doing a graphic novel, given his facility with words and images, and he said he’d love to do it! He’s on my radar right now. His book, The Widower’s Notebook, is quite a page-turner. I went to the Tin Table for a late dinner and couldn’t put it down. The waitress even said I could stay as long as I wanted. After making some time for the Ford-Kavanaugh hearings, I kept reading the next day and finished in another sitting. What I got from this book is a riveting narrative covering a heart-wrenching time in the author’s life.
Mr. Santlofer has an uncanny observational style: you believe you’re with him. His writing is vivid and carries you along even when he’s writing about not feeling up to doing anything at all. It’s the mark of not only a good writer but an excellent writer to allow you into a life without you being aware of any of the effort involved. This is a story of a most significant loss, the death of one’s life partner. Santlofer achieves a level of the sublime by simply being in the moment. He does with his writing what he does with his drawings: evoke a sense of the hyperreal. You are really there with the author as he finds his wife, Joy, dying before his eyes, the subsequent rush to the hospital, and the frenetic tripping through memories.
We follow along as Santlofer reflects upon a grand life beginning with a young bohemian couple, just married, in Brooklyn, circa 1967. We progress in a stream of consciousness fashion from the birth of Dorie, his beloved daughter, to the recent death of Joy to the building up of a new life. The act of drawing helps with the act of mourning–drawings work when words seem to fail or seem to be not enough. There’s a touch of magic to art-making and it seems most explicit when examining an intimate and intricately crafted drawing. The excerpt below speaks to this process:
“I am able to draw my wife because drawing is abstract, because you can’t really draw something until you stop identifying it. You can’t think: this is an eye, or a nose, or lips, or you will not be able to draw them; an eye, a nose, lips are all the same, simply marks on a page.
Drawing has made it possible for me to stay close to Joy when she in no longer here. It is a way to create a picture of her without feeling weird or maudlin. I am not sitting in a dark room crying over a photo of my dead wife; I am at my drawing table, working.
Grief is chaotic; art is order. Ironic, as most people think art is all about feeling and emotion, when in fact the artist needs to be ordered and conscious to create art that will, in turn, stir feelings and emotion in others.”
A drawing is a complicated thing.
Santlofer’s book is about dying and about living. It is as much about mourning as it is about relationships, family, and the creative process. Indeed, art can save your life and Santlofer’s book eloquently and passionately speaks to perseverance and purpose.
The Widower’s Notebook is a 272-page paperback with illustrations, published by Penguin Random House.
Hugo House reopens its doors in Seattle at 1634 Eleventh Avenue.
It was as if nothing had ever changed as a casual group of writers gathered outside for the reopening of the Hugo House literary arts center in Seattle on September 22, 2018. When someone would go up and ask if this was the line to get in, those already gathered would not even acknowledge something so conventional as a line. Such was the irreverent spirit of the evening. People were just there like they’d been many times over the years. Many recalled the original home for this arts center, a former funeral parlor, and had very happy memories of free-wheeling creativity.
Typewriters abound at Hugo House, a symbol of the creative spirit.
The new 10,000 square feet home for Hugo House is different from the old home in fundamental ways. I can tell you from my own experience with Hugo House that much has changed but, despite that, the old spirit is still there. If you know where to look, you can even find remnants of the old. Some of the original floorboards decorate a section behind a little bar area. It’s like anything else that once was, you retain some keepsake that many new folks won’t notice but that can trigger a whole other world for old-timers.
Many onlookers and participants at the grand opening.
That older world began with the founding of Hugo House in 1997 by Linda Jaech, Frances McCue, and Andrea Lewis. It was shortly after the opening of the original that I began to visit, make friends, and take classes. I fondly recall the passion of such beacons of light as Kirsten Atik and Charles Mudede. It was a different time and place. Anyone could literally walk right in, in the spirit of a community center, and wander through an art gallery, enjoy a spacious cafe, and perhaps contemplate taking in a show in one of two fully-euipped theaters. If they knew their way around, they could walk upstairs and use one of the open spaces to read, work, and just think.
A typical classroom space at Hugo House.
The new Hugo House must deal with the plight of overdevelopment and outrageously high prices for housing in Seattle. It has become fortified for the new times and is housed within a condominium. Long gone are the days when you could maintain such a a non-profit community writing center within a quaint but lovely and spacious ole Victorian with a long inviting series of steps. Architecture firm NBBJ created the new structure that houses the new Hugo House. The structure is made up of condos with the lower level used by Hugo House. With a million dollar grant and the help of plenty of donors, Hugo House declares this a “once-in-a-generation opportunity” and, most reassuring, Hugo House has managed to secure the space in perpetuity.
It was quite a gathering to come out and see what’s new. The festivities began with an open mic, the first one in the new Hugo House. One highlight of the night, undoubtedly, was a presentation by celebrated writer Maria Semple. She took the opportunity to speak about what Hugo House has meant to her over the years. The sense of good cheer was palpable. Many times over the place reached capacity and required crowd control. All in all, a good time was had by everyone. You could talk, drink, dance, and participate as much as you wanted.
Last night’s reception gives all of us in Seattle who cherish the literary arts much to be hopeful for. While the actual writing classes don’t come cheap, the selection is very impressive and worth every penny. There is still work to be done in the actual physical space. The area for the 150-seat auditorium remains an open space as of now. And, as I say, the actual structure looks like any other condo you will come across in Seattle, a bit imposing, but in this case, a lot of pure hearts are doing their very best to inspire and educate writers from all walks of life.
‘In the Shadow of King Saul: Essays on Silence and Song’ by Jerome Charyn
Editor’s Note: For those equally attracted to prose and to comics, Jerome Charyn has quite a significant connection with the comics medium. He has collaborated with some of the best artists in Europe. For instance, you’ll want to check out titles written by Jerome Charyn and illustrated by Francois Boucq. A new title is in the works too. For additional posts, including those featuring comics, go right here.
Saul was the first king in the Bible but, as writer Jerome Charyn points out, he took a backseat to the celebrated David. It was David who gained all the glory and Saul who was left in the shadow. That’s not to say Saul wasn’t worthy. He simply wasn’t favored by God. It’s a tough place to be and a lot of people can relate to that. In his distinctive and vivid way, Charyn collects in his new book some of his best work on the theme of the underdog, the one deserving yet less embraced. In the new book, Charyn also provides a look back at a writer’s influences. In the Shadow of King Saul is a 272-page paperback, available as of August 28th, published by Bellevue Literary Press.
It matters little if you’re famous or unknown when it comes to being an underdog. New York mayor Ed Koch, for instance, shares a similar spot with Saul too. In one piece, Ellis: An Autobiography, the reader follows Charyn down the mean streets of the Bronx in the ’40s to an unfolding immigrant’s tale. The featured guest in this narrative is the famously accessible yet often maligned Ed Koch. In the process, it seems that everything is revealed all at once in a kaleidoscope of rich detailed observations. New York City, a city of ups and downs, had reached the brink in 1975 and was nearly bankrupt. Enter Ed Koch. He turned the Big Apple into a boomtown again. But the featured guest ultimately takes a backseat to his city since it’s New York City that’s the real star.
No one person, after all, is so much a star as part of something bigger. As Charyn makes clear in his enchanting writing, the glory is in the details. In another piece, Faces on the Wall, Charyn reflects on the power of film–and Hollywood in particular. MGM studio chief Louis B. Mayer ran a tight ship but, in the end, the flickering screen held its own sway:
“The simplest screen was much bigger (and darker) than any of the movie moguls. The studios could tyrannize the content of a film, declare a land of happy endings, but they weren’t sitting with you in the dark. They could control Joan Crawford, but not the hysteria hidden behind those big eyes, or the ruby mouth that could almost suck you into the screen.”
Charyn takes pleasure in sharing the lesser known achievements. His admiration for such literary greats as Saul Bellow and Isaac Babel is infectious. But, with the same gusto, he champions less known writers like Samuel Ornitz and Anzia Yezierska. It is in doing so that he honors his offbeat choice for a hero, the much maligned and misunderstood King Saul.
In the Shadow of King Saul is a 272-page paperback, available as of August 28th, published by Bellevue Literary Press.
“The Graphic Canon of Crime and Mystery, Vol. 1: From Sherlock Holmes to A Clockwork Orange to Jo Nesbø”
Jerome Charyn, one of our great writers, known for his Isaac Sidel mystery series among many other works, has said that “all novels are crime novels.” It is an intriguing idea. You may as well take it a step further and say that all narrative, even the Bible, shares something with the genre. It is in that spirit that Russ Kick brings us the latest in his series of great works of fiction adapted into the comics medium. “The Graphic Canon of Crime & Mystery Volume 1” is published by Seven Stories Press.
This is a take on the crime & mystery genre that proves quite refreshing and a true eye-opener. Russ Kick, in the role of curator/editor, has taken an offbeat path in order to emphasize just how diverse and unpredictable his subject can be. Kick goes so far as to not include any adaptation of two of the most prominent names of all: Dashiell Hammett and Raymond Chandler. Perhaps he’s saving them for another volume. As a cartoonist myself, I would find those two irresistible for adaptation. But I also appreciate that Kick is playing with a delicate balance of mixing the familiar with surprising elements. Take the cover image. What on earth is going on there? A woman has been left tied up to a bed as a man creeps upstairs. Kick manages to keep just the right unsettling vibe running throughout this impressive anthology.
Good crime fiction keeps you on your toes. You are not supposed to be on solid ground. You are supposed to expect the unexpected. To set the mood, as well as provide the necessary framework, Kick has done away with chronology and has organized each adaptation within chapter categories: The Act; Criminals; Whodunit; Judgment; and Punishment. Take the judgment theme, for example. Within that one you have a story from the Bible, “Jesus and the Adulteress,” a story from Boccaccio’s “The Decameron,” and Hawthorne’s “The Scarlet Letter.” Neither of these would seem to be an obvious fit. There are certainly no gumshoe detectives here. But there is undeniable intrigue, and each story revolves around a crime. It is in Hawthorne’s case that we have that persistent double layer of gloom that resonates with a contemporary reader.
Excerpt from “The Scarlet Letter”
One of my earliest reviews of comics was the work of Sophia Wiedeman. I am quite taken with her eerie and understated comics. It is very nice to see her adaptation here of “The Scarlett Letter.” Hawthorne, like Washington Irving and Robert Louis Stevenson, is a true master of early American psychological thrillers. Wiedeman’s adaptation evokes the chilling air surrounded by poker face Puritans hungry for self-righteous violence.
Excerpt from “Headhunters”
But you really cannot deny yourself altogether the grit, glamour, and style that is so inextricably linked to the crime & mystery genre. The one piece that really satisfies that “To Catch a Thief” vibe is an adaptation of “Headhunters” by Jo Nesbø. If the name is not familiar, then maybe you have not tuned into the crime fiction trend coming out of Scandinavia and known as “Scandicrime.” Who knew. I have tended to see Scandinavians as rather mellow sensible sorts. But, no, push come to shove, and ditch the lutefisk in favor of brass knuckles. For this piece, Jackie Roche adapts a tale of a man leading a double life: corporate headhunter by day; master cat burglar by night. Roche has a perfectly light touch that gives this story an added touch of class.
Excerpt from “In Cold Blood”
For something decidedly chilling, there is the adaptation by Emi Gennis of the Truman Capote masterpiece, “In Cold Blood.” Gennis is another cartoonist I have followed and always find interesting. For her piece, she lets much of the plot speak for itself with minimal dialogue. Her stark and space style gives it all a nice edge.
Excerpt from “The Postman Always Rings Twice”
Sarah Benkin does something similar with her adaptation of the James M. Cain all-time classic “The Postman Always Rings Twice.” Benkin’s approach brings home the old adage of how the best laid plans of mice and men can fail miserably.
Excerpt from “Strangers on a Train”
And one more: it’s fun to see a piece by Megan Kelso that turns up the heat on her usually reserved and understated style with her adaptation of Patricia Highsmith’s “Strangers on a Train.” It’s as if a lot of things that often go unsaid in a Kelso story are forced up a bit to the surface. That said, Kelso conceals where she needs to and leaves the reader wondering in the spirit of any good mystery.
“The Graphic Canon of Crime & Mystery, Vol. 1” is a 352-page trade paperback, available as of November 21, 2017, and published by Seven Stories Press.
Has a major American city ever commissioned a graphic novel as a public art piece before? Seattle is on board! Cartoonist David Lasky and writer Mairead Case have been selected (from 71 applicants) by the City of Seattle to create a fictional graphic novel centered around the historic Georgetown Steam Plant. The goal is to increase awareness of this unique landmark with a graphic novel geared toward young adults.
Panel from “The Carter Family: Don’t Forget This Song”
David Lasky is the co-author (with Frank Young) of the Eisner-Award-winning graphic novel biography, “The Carter Family: Don’t Forget This Song.” Chicago writer Mairead Case is the author of the acclaimed prose novel, “See You in the Morning.” A story by Lasky and Case, “Soixante Neuf,” was featured in Best American Comics 2011.
West elevation exterior of engine room. The Georgetown Steam Turbine Station, built in 1906 is now a National Historic Landmark. The plant is owned by Seattle City Light and has been working to restore the plant. It is open for tours the second Saturday of each month and is occasionally used as a teaching facility for steam power engineers and hobbyists.
Here is a brief email interview I did with Mairead Case today:
What went through your head when you got the news about being chosen for this special graphic novel project?
Well I was, am, sincerely grateful: to be from a city that celebrates public monuments with comics, and to have visibility and support for the creative relationship David and I have pretty much always had, even when nobody else was looking. Grateful to have work that includes time for oral histories and site-specific research (no screens!). And aware of the responsibility to accurately represent Georgetown’s diverse history—we want to use this platform to amplify and illuminate the stories that are already here, not co-opt them. For real. (Also, I was really happy to have news that would make my mom proud.)
Are you already envisioning what your routine will be like with the project?
David and I are both pretty focused, detailed nightowls so I expect we’ll have a focused, detailed, nightowl routine. That said, it’s amazing to have financial support for this project so it’s really exciting to think about how we might work in new ways with that gift. (We might even work in the daytime, ha!) But no matter what we’ll be collaborating closely. And we will probably listen to Bowie at some point.
Did you ever think you’d be creating a graphic novel about a steam plant?
I feel like I’m supposed to say no here, but why not? When I was a kid I wanted to be a tightrope walker so maybe this is not that far off.
What do you think this project might say about the role of graphic novels in America?
Ah, I think our role is to make the book and then other people can tell us! But it is terrific terrific terrific that Seattle is supporting a project like this—it’s really wonderful that an American city in 2017 is using art to build community, as defined and remembered by that community. I’m used to telling (maybe yelling a little too) at the government about that, and am still gobsmacked that this time the government was all “we know. Go.” I hope that other cities say “Go” too. The talent is here! American cities, if you want me to send you lists about the talented storytellers I know in your neighborhoods, just send a flare.
You can keep up with this intriguing project right here.
And, if you’re in Seattle this weekend, be sure to stop by and see David Lasky at the annual comic arts festival, Short Run.