Always Goodbye by Ray Hecht. 88 pages. TWG Press, 2019, paperback, $5.99.
With great insight and humor, Ray Hecht shares his life with the reader in his autobiographical graphic novel, Always Goodbye. This is an ambitious work as Hecht takes stock of his whole life thus far. Hecht sums up his life, year by year, and he’s up to the challenge. He’s definitely an interesting subject: an artist, filmmaker, journalist, and author. What he’s doing here is giving the reader a window into what he’s done all his life: traveling, observing, and creating art. Like the results of a conversation between good friends, this graphic novel provides many gifts.
The theme of the book is found in the title. While traveling can be enlightening and full of adventure, it often comes at a price. And, of course, all travel is not completely voluntary. A lot of the nuts and bolts of travel are not glamorous and bring in a whole lot of issues including the trauma of displacement.
No doubt, Ray Hecht is doing exciting work with comics, both as a creator as well as an instructor. And he certainly has a wonderful track record of prose novels, including South China Morning Blues and The Ghost of Lotus Mountain Brothel. Hecht is an artist down to his bones and I definitely relate to that. Hecht has harnessed a creative drive that’s led to compelling work. Anyone interested in the inner life of an artist will get a lot out of his latest book. If you enjoy a hearty work of autobiography, this will appeal to you. Hecht’s comics have got enough of that quirk factor that earns him a place within that fine tradition of auto-bio comics that includes such luminaries as John Porcellino, Tom Hart, and Lynda Barry.
Always Goodbye is published by TWG Press and available right here.
Survivors of the Holocaust: True Stories of Six Extraordinary Children
Last June was the 75th anniversary of D-Day and the Battle of Normandy. This year we observe 75 years since the liberation of the Nazi death camps beginning with the Soviet Army’s 322nd Rifle Division entering the concentration camp at Auschwitz. One book that helps young readers understand these events from the perspective of children has recently been published by Sourcebooks entitled, Survivors of the Holocaust: True Stories of Six Extraordinary Children. What is striking about this book is how accessible it is through its honesty and specificity.
Stepping into history, at the start of the Second World War.
It is understandable if you might think the subject of the Holocaust is too much for a young reader but this book finds a way that honors young readers ages 10 and up. It is as if a thoughtful grandparent is telling their story. Each vignette is told my a real survivor in terms that inform and enlighten. The layout is inviting. The characters are engaging. The stories are revealing as with any good reportage. These are stories of the displacement and survival of Jewish children and young people amid the backdrop of Adolf Hitler and the Nazi party’s persecution of millions of Jews across Europe between 1933 and 1945.
A growing international crisis.
Because these are stories told by individuals, you get very specific points of view. For example, the reader is there with Ruth as her family manages to escape from Germany to England and she hears the official start to the war on the railroad intercom. Or, another example is Martin and his family, along with other Jewish families, who are rounded up by the Nazis. In order to avoid crossing into Poland and triggering an international conflict, the Nazis force Jewish families to walk along the railroad tracks that separate the borders. That strategy works, at least for a while. Survivors of the Holocaust: True Stories of Six Extraordinary Children is an essential book for young readers interested in better understanding one of the most tragic events in modern history. For more details, and how to purchase, visit Sourcebooks right here.
Image Comics/Skybound Entertainment at Emerald City Comic Con
Emerald City Comic Con is the premier comic book and pop culture convention in the Pacific Northwest. ECCC is the place to be in Seattle, held at the Washington State Convention Center, March 12-15, 2020. Tickets are available here. ECCC presents a top ten list highlighting reasons to attend:
A highlight from today: presentation by house manager, and retired law enforcement officer, Rep. Val Demings. She focused on the machinations of Rudy Giuliani as he worked to pressure Ukrainian Pres. Volodymyr Zelensky to announce Biden investigations. At one point during the NBC News broadcast coverage, there was a split-screen of Demings and Trump arriving in Miami for one of his rallies. What is particularly interesting about this moment is that there is talk of Demings as the vice presidential running mate for the Democratic ticket in 2020. Demings, by the way, is from Florida, a most consequential state come election time. Ironically, Trump was heading to Miami during the Demings presentation.
The Arab Spring began nearly a decade ago. Graphic artist Andy Warner recalls the predawn of revolution, Lebanon in 2005, in his new graphic memoir. In the span of little over a season, about five months, Warner seems to live a lifetime of experiences during his brief study abroad in Beirut at the age of 21. In his book, Warner sheds away any inhibitions and provides the reader with a confessional tale. This is Warner’s coming-of-age story amid a surreal worn-torn landscape. Anything goes. Sex. Drugs. Anything. To his credit, Warner navigates through all the rough terrain with compelling results.
As much as we might think we know about the Middle East, it’s clear that we don’t know enough. Warner is sensitive to this fact and carefully lays out people, places, and events. Simply for the sake of gaining insight into the region, this book is essential for any age. Through Warner’s adventures, including a mix of backgrounds (students, LGBTQ, foreigners and Lebanese), the reader becomes acquainted with a vibrant and multicultural Beirut. The reader gets a firsthand account of the dynamics at play in the aftermath of the assassination of a Lebanese icon, the tycoon, Rafik Hariri. He swindled billions and created luxury estates. But he also created schools, hospitals, and, perhaps most important, he provided a symbol of hope. Legends, just like memory itself, can be complicated and messy.
Page excerpt from SPRING RAIN
Warner shares as much as he can about his own memories and struggles with mental health, particularly during those intense months in Beirut filled with protests, bombings, and self-discovery. If you read only one graphic novel this year, you would do well to pick this one up. Warner proves to be a reliable and trustworthy narrator and guides the reader on many levels, including the often daunting creative process. Warner’s artwork is an appealing combination of semi-realism and cartoony. It is cartoonists like Andy Warner who rise to the occasion and live up to the potential of the comics medium. In doing so, Warner and other great cartoonists contribute to greater understanding of, and empathy for, the world at large.
Jerome Charyn’s latest novel encompasses the decline of the Third Reich as seen through the eyes of a special set of characters. It’s about a country that has lost its soul and about a young man who hungers to feed his soul. Charyn conjures up a narrative punctuated with powerful imagery such as when he steadily rolls out thoughts of Georges Rouault, artist of sad kings, clowns, and Christ. Most prominent of Charyn’s recurring themes comes from the silent film classic about the diabolical Dr. Caligari and Cesare, his somnambulist slave. What better metaphor for someone claiming that they were trapped into following orders. That is the life of the “Cesare” in this novel, one Erik Holderman, a small but vital cog in search of redemption.
Still from The Cabinet of Dr. Caligari, 1920
The ways of the world are writ large here. This is the story about a Caligari and a Cesare as well as a whole people who became, as an incisive bestseller so phrased it, “Hitler’s willing executioners.” Yet even in this dark world there is room for light. Erik is not merely a zombie slave. Nor is Canaris merely his Dr. Caligari. Between the two of them, they mean to undermine the Nazis as much as they can and save Jewish lives, one life at at time. This is mostly a dark world and yet one that somehow allows for the existence of Emil, a mystical dwarf who could have walked right out of a Georges Rouault painting.
The Little Dwarf by George Rouault, 1938
Erik, the obedient assassin, finds his fate inextricably linked to Lisalein, a most beguiling woman who equally courts sympathy and danger. All comes to a head when Lisa’s life is in peril once she ventures too close to the false paradise of Theresienstadt. She can’t help but follow her father who is convinced that the little cultural hamlet will prove to be his haven. The narrative definitely has much of the energy of a thriller as Erik must run to keep up with events. But there is so much more here. This is a very dark world, after all, and that requires the fine scalpel of a master storyteller to reveal truth. Much in the same spirit as Kurt Vonnegut’s Slaughterhouse-Five, with its underscoring the tragedy of the Allied bombings of Dresden, Jerome Charyn underscores the tragedy of Theresienstadt, an all too real place that trapped and killed–and haunts to this very day.
Saturn Devouring His Son by Francisco Goya, 1819–1823
Jerome Charyn has a highly distinctive voice in the same company with other literary greats like Saul Bellow or Isaac Bashevis Singer. Part of Charyn’s magic is his use of sustained imagery and metaphor. He has his favorite motifs which include wolves, werewolves, magicians, criminals, and tattoos, all sorts of things that either evoke something disturbing, supernatural, or otherworldly. In this new novel, for instance, he describes Hitler as a magician with his henchmen wolves. And it makes sense that Charyn would gravitate to the Nazi way station of Theresienstadt. It hadn’t been enough for the Nazis to deceive and/or kidnap Jews into this glorified holding pen. The Nazis forced Jews to oversee each other and even determine who would be next to go on to Auschwitz. That brings us to one last Charyn motif in this novel, one of the most sobering depictions of unbridled inhumanity, Goya’s Saturn Devouring His Son. In a novel full of its share of the grotesque, it takes an artist with a precise touch such as Charyn to achieve such artful results.
Max in America: Into the Land of Trump by Henry Chamberlain
A lot of my readers are familiar with my various creative pursuits. And I think a fair amount have followed a particular project I’ve been developing. It all began with a hot air balloon ride. Our hero, Maximo Viaje, a well-intentioned artist living in Mexico, suddenly finds himself an “illegal immigrant” at an especially heated time, the Trump era. We’ll revisit the progress of this book as it begins to make its way onto various platforms. As of this writing, you can find print copies at the Comics Grinder store right here.
We can always use a laugh and some food for thought.
Whatever your politics, it’s safe to say that we live in quite surreal times. I’m confident that readers will enjoy a narrative that incorporates light humor, food for thought, and a rollicking joy ride of road trip misadventures. No one ever said achieving the American Dream was going to be easy and it’s an even bigger challenge for Maximo, who had been happy to simply daydream! He can’t afford to daydream any longer.
Rico is ready for his Instagram close-up.
Once Maximo is in the United States, he meets Leslie, another lost soul who feels trapped and is ready for change. A series of eerie coincidences form an inseparable bond between Maximo and Leslie. If they can rely upon each other and rise to the occasion, they might be able to overcome adversity. One coincidence could prove fatal. Leslie is convinced that she is married to Maximo’s twin brother. And if that did not seem enough, Maximo strongly suspects he has some special connection to the Kennedy dynasty. Ultimately, Maximo and Leslie are on the run while also juggling a promising comedy touring act.
Will JFK save the day?
This book is fully illustrated which will definitely add a nice touch to the reading experience. The content here is mostly focused on satire and is suitable for any age. As both a writer and a cartoonist, I can clearly see this book having a lot of crossover appeal. It could easily be sold within the context of work in comics and illustration as well as prose. The humor and the hero’s journey will appeal to a wide range of readers.
No time to lose.
Max in America: Into the Land of Trump is currently available only at the Comics Grinder store.
Blowout: Corrupted Democracy, Rogue State Russia, and the Richest, Most Destructive Industry on Earth, by Rachel Maddow, published by Crown, 432 pages, $30.00.
Blowout, a comics digest, by Henry Chamberlain
If you want to understand something about how the world works, then a must-read is Blowout, by Rachel Maddow. It doesn’t matter what your politics are for this book to make an impact. Maddow drags out some major skeletons in the closet into the light of day on a global scale. In this case, we’re talking about our relationship with fossil fuels, which isn’t much better than our relationship with nuclear energy. Maddow guides the reader up and down this perilous rollercoaster journey. Anyone familiar with The Rachel Maddow Show on MSNBC knows that Maddow favors an in-depth approach that connects all the dots. For me, someone who often finds it helpful to “doodle” and combine concise words and images, Blowout proves to be an excellent subject to dissect.
Close-up of comics. First panel.
It is through the process of creating comics, storyboarding, and visual storytelling, activities that I’m very familiar with, that incredibly powerful facts can bubble up to the surface. I’ll jump ahead right now and tell you, with all the relevant news going on as I write this, that facts are facts and it’s important to pin them down. I point your direction to the comic that is presented here that I created focusing on Rex Tillerson, a prime example of how those in power, left unchecked, demand and grab even more power, as much power as possible. I also created an info-mural that gives an overview of the whole Blowout book. That said, this comic adds some finer precision to make a point. It’s as one digs deeper, connects those dots, that those facts bubble up that need to be pinned down and examined. At a time when we’ve heard so much about finding the ultimate “smoking gun,” when one news cycle is drowned out by another, I point you to the fact that, once in office, the Trump administration hurriedly did whatever it could to remove sanctions on Russia. But Congress acted in a bipartisan manner and shutdown any attempt to remove these sanctions. However, Congress looked the other way on another related matter, getting rid of Section 1504 of the Dodd–Frank Wall Street Reform and Consumer Protection Act of 2010.
There are very real consequences to letting Big Oil bullies, like ExxonMobil do at they please. Section 1504, the much despised safety valve to help curb corruption, that the Trump administration successfully pushed Congress to make disappear was there to try to turn back the Resource Curse. When countries find themselves with vast amounts of valuable resources, like oil and gas, it is the corrupt power players who win and the citizens who lose. There’s no trickle down effect! Nope, it’s just a dictator and his family with cash to burn. As is pointed out in Blowout, the 1504 measure was only trying to fix a very messed up system:
It’s worth repeating what the late Republican senator Richard Lugar wrote when he sponsored the measure: “When oil revenue in a producing country can be easily tracked, that nation’s elite are more likely to use revenues for the vital needs of their citizens and less likely to squander newfound wealth for self-aggrandizing projects.” Lugar has also been clear-eyed about the cost to the United States of allowing corrupt government actors in those countries to consistently fail their own citizens. The Resource Curse, Lugar wrote, “exacerbates global poverty which can be a seedbed for terrorism, it dulls the effect of our foreign assistance, it empowers autocrats and dictators, and it can crimp the world petroleum supplies by breeding instability.”
Somehow, that wasn’t a compelling enough argument for Rex Tillerson or Donald Trump.
Maddow begins connecting the dots with John D. Rockefeller and his Standard Oil Company and we end up with Rex Tillerson and ExxonMobil. The first oil strike, the big bang that set it all into motion, was on August 28, 1859, long before there were any cars but not before a profit motive had been established. Fast forward to our own times, ExxonMobil, a descendant of Standard Oil, reigns supreme as the most profitable business in the world. Going back to John D Rockefeller, big oil has always felt entitled to do as it pleases, by whatever means. With Rex Tillerson, ExxonMobil had the perfect CEO, both savvy and ruthless. As Maddow points out with great detail, Tillerson had no qualms about who he built a relationship with, including a very cozy one with Vladimir Putin, even if it put lives in danger. As Tillerson explains, if he could get away with something that favored ExxonMobil, then he was going to do it:
“Was there any country in the world whose record of civil rights was so horrible, or whose conduct was so directly a threat to global security or U.S. national security interests, that Exxon wouldn’t do business with it?” Rex was asked during an official U.S. Senate investigation. “The standard that is applied is, first, ‘Is it legal?'” he replied. “Does it violate any of the laws of the United States to conduct business with that particular country? Then, beyond that, it goes to the question of the country itself. Do they honor contract sanctity?” Contract sanctity, that’s the top. Below that, it’s all negotiable.
And it is Rex Tillerson who ends up becoming Secretary of State, at least for a while.
Once the genie was let out of the bottle, humans developed a rather disordered relationship with oil…and its close cousin, natural gas. When oil reserves became less of an easy grab, it was natural gas that seemed to be the energy alternative we’d all been looking for. Except natural gas was never really such an easy grab. Accessing it involves a process popularly known as “fracking,” which is highly disruptive and has resulted in a record number of earthquakes in Oklahoma, a darling of the fracking industry, and a region where earthquakes were nearly nonexistent. This is a thread in our story that travels the globe as more and more regions experience fracking–and subsequent environmental damage. From that already toxic mix, you can add rampant corruption inextricably linked to the search for oil and gas. But don’t let it overwhelm you. Maddow maintains a steady narrative pace, all the better to make sense of it all. For instance, let’s not overlook for a minute the significance of Ukraine which figures prominently in Putin’s designs for dominance. The plan had been to keep Ukraine dependent upon Russian natural gas–but then Ukraine discovered gas of its own. No matter, Ukraine had to bend its knee or it would be broken. The truth was that, ever since the break up of the Soviet Union, the people of Ukraine wished to be free. Instead, Putin inserted his gangsters, like Dmitry Firtash, to maintain control:
There was a pile of money to be made in natural gas in Ukraine, so there were plenty of very interested parties. Firtash had to be able to deal with bankers, pols, and, most important, organized crime bosses. All of them well armed. All of them locked in a dangerous and uneasy partnership that sometimes proved fatal for the unluckiest. Firtash knew certain dinner invitations could come with a side order of assassination. Even into the early years of the twenty-first century, the natural gas business was still operating by “the law of the streets,” Firtash explained to the U.S. ambassador of Ukraine. “It was impossible to approach a government official for any reason without also meeting with an organized crime member,” Firtash said. He did what he had to do.
As many of my readers have come to appreciate, I aspire to the high standards of the auteur cartoonist, the artist-writer who processes compelling information into concise words and images. It is something I’ve done on some level as far back as I can remember. Sometimes, I can’t help myself and will take a riveting read and write a full-on prose review. And then there are times when some sort of “comics digest” is in order. So, I’ve taken some key moments in Blowout and turned them into what amounts to an info-mural. You can see the whole layout to my info-mural by viewing the video below.
Maybe I got something out of my system for now. I provide this without a focus either to the right or to the left. I sincerely believe that we only need to look back to the dark days of Watergate to see how a crisis, mired in polarizng politics, can inevitably lead to a consensus that something is wrong and it needs to be fixed, for the sake of not only one country but for the world at large. Looking beyond fossil fuels, we need to embrace renewable energy sources now more than ever. It wasn’t that long ago that an electric car seemed to only be a futuristic dream. Now, it’s common. We can do it.
Page from the upcoming PETER PAN: excerpt from Brecht Evens’s Neverland.
We begin a whole new decade and I’m as excited as any of you! I feel that we have no time to lose to own this new emerging era. As for the world of comics and graphic novels, I direct your attention to a new leader in all things beautiful and unusual, the publisher, Beehive Books. Beehive Books has demonstrated a commitment to excellence that will only continue to grow into 2020 and beyond. Here are some compelling facts and enticing news from Beehive Books:
DRACULA: THE EVIDENCE
In 2019, our first titles landed in book stores, and the world began to take notice of the strange magic brewing in West Philadelphia. Thanks to the unsurpassed talents of Paul Kepple, Yuko Shimizu, Justin Duerr, Ronald Wimberly, Bill Sienkiewicz, Guillermo Del Toro, Michael Cunningham, Paul Pope, Omar Abdullah, Ramsey Campbell, Denis & Violet Kitchen, Gary Panter and many more, we ended the year with a lot more trophies, statues, plaques, clippings, plaudits and honors than we began it with.
At Beehive we don’t believe in Instagrammish humble-bragging, so here’s some straight up old fashioned bragging about things we did this year
We are, first and foremost, dreamers of the wild-eyed variety. But publishing, this exercise in the possible, requires a keen eye on the bottom line. We’re learning to be better business-people as we go.
Due to the intimacy of our thousand-odd readership, the projects that have sustained us financially and kept this ship afloat have been the ambitious and elaborate (read: expensive) ones — our entirely implausible experimental briefcase-housed ephermeral facsimile of Bram Stoker’s Dracula; great books of the past, gloriously illuminated by the greatest cartoonists and graphic artists of the day; giant, deluxe, painstakingly researched monographs on master artists like Harrison Cady and Herbert Crowley, whose brilliant work must be saved from slipping into the forgotten past.
LAAB MAGAZINE #4: This Was Your Life!
Next year we want to push even further in the direction of our more elaborate and ambitious projects. Bizarre formats, profuse box sets, paper sculptures, printed art objects, limited edition handmade artist books… Startling voices, forgotten treasures, otherworldly inventions. Books within books and wheels within wheels. Our ambition is to build paper worlds into which our readers can disappear. Refuge from the quick-and-dirty disposability of an increasingly digital and mass-manufactured world. And if you have your own ideas for any projects that push the boundaries of publishing, we always love to hear your thoughts and submissions! Drop us a line at firstname.lastname@example.org, or encourage your friends to do so.
The Best American Comics 2019, series editor Bill Kartalopoulos, editor Jillian Tamaki, published by Houghton Mifflin Harcourt, 400 pages, $25.00.
All in all, the goal of the annual Best American Comics is to represent the overriding impact of significant and notable comics during the last year and say something about comics that is fresh and new. Well, among the most fresh and new, is the work of 81-year-old Jerry Moriarty. In this new edition, you’ll find this example, an excerpt from Whatsa Paintoonist? published by Fantagraphics Books. We see the artist chatting as he goes about his day in his studio. The featured pages depict a wonderfully eccentric and talkative artist with his creations having come to life.
WHATSA PAINTOONIST? (excerpt)
Painting with acrylic and drawing with a Papermate pen, Moriarty epitomizes what is takes to cut through barriers and pretense and get on with creating art. You take a look at his paintings about sexual awakening and you see direct and incisive work. After graduating from Pratt, he went on to teach at the School of Visual Arts for fifty years. In 1984, his first comic, Jack Survives, was published by RAW. Put it all together and Moriarty’s artistic activity is genuine and authentic. Moriarty definitely fits into my criteria for what belongs in a collection of the best comics: work of quality; work that advances the comics medium; and work that speaks to the current state of comics. I have always maintained that the ideal cartoonist is the auteur cartoonist, a sole creator who treats comics as the art medium that it is. If such a person is so fortunate as to be able to build a career solely upon their comics and graphic novels, that’s great. But, all too often, you just do what you need to do because you’re compelled to create the work, in the same way that a genuine poet creates poetry. That is what Jerry Moriarty has done.
WHATSA PAINTOONIST? (excerpt)
The goal of Best American Comics is to feature the wide spectrum of the best work of the previous year. And while seeking out the best can become quite subjective, the goal is to overcome that. Honestly, if it’s not overcome, then you end up with more of a promotional book of commercial artists or an overly self-indulgent exploration of experimental work. Neither extreme is welcome to carry a whole book. There are other venues for that. Of course, one needs to try to cover as much as possible. Best American Comics has a pretty good system in place where the series editor gathers up work throughout the year and hands it off to that year’s guest editor. In the end, you get a collection that includes industry leaders and quite a few intriguing discoveries. I think it’s fair to say that this is an imperfect process but one can keep striving to do better. The good news is that each year brings a collection with wonderful new work to discover or rediscover like the work of Jerry Moriarty, who has been in the business for well over fifty years. Nice to see that he made it into Best American Comics this year!