Tag Archives: American History

MS DAVIS: a Graphic Biography review by Paul Buhle

Ms Davis: a Graphic Biography. By Amazing Ameziane and Sybrille titeux de la Croix, translated by Jenna Allen. Seattle: Fantagraphics, 2022. 185pp, $24.99.

Guest Review by Paul Buhle

This remarkable and challenging work, translated from the 2020 French edition, offers readers a study in the history of comic or political art by adapting past artists’ work into a new synthesis of narrative. It is not a “biography,” as in “graphic biography,” that readers would expect. We see only the dramatic bits and pieces of Angela Davis’s life, and virtually none of the long aftermath (from the early 1970s until now) that biography readers would expect. And yet capture the drama of Davis’s life, the work does in grand form.

Ms Davis might be contrasted with The Black Panther Party Comic, a well-selling, straightforward visual narrative that a fussy aestheticism of comic art might wrongly call “pedestrian.” This tells the story of the short-lived but extremely dramatic Black Panther Party with suitable details, and would be valuable for anyone who enjoys Ms Davis, which goes the precise opposite direction in so many ways.

In the globalization of comic art, artist Amazing Ameziane and collaborator Sybille Titeux de la Croix credit four American artists: Milton Glaser, Norman Rockwell, Emory Douglas and Bill English. What do they have in common? Less than they have by contrast. Rockwell, who famously celebrated the “American Way of Life” (overwhelmingly the white, middle class way of life in the twentieth century), had moments when he went beyond his assumptions, as in his famed poster art for “The Four Freedoms” proclaimed by Franklin D. Roosevelt in wartime, and still not realized (“Freedom from Want.”) Emory Douglas is the Black Panther Party artist supreme, with his stark, propagandistic drawings. William English, illustrating some of poet William Blake’s works, is as far from commercial illustrator Milton Glaser (best remembered for the 1966 poster for Bob Dylan) as imaginable. And so on. Amezianne/De la Croix pick and choose what they want, in art as well as story.

They invent characters to suit themselves. Angela Davis, growing up in the 1950s South, thereby has an invented black woman friend who stays in Atlanta when Davis moves to New York.  She also has a sympathetic and crypto-feminist journalist pal who struggles with her newspaper bosses to create a news story worthy or at least somewhat worthy of Angela Davis’s incredible life.

To describe the plot is grossly inadequate to the “look” of Ms Davis. Actress Helen Mirren, speaking at the San Diego Comicon after Harvey Pekar’s death, said (in her eloquent way) that Harvey had taught people to read comics “in a new way.”  That is, comics could be about ordinary people in the unprestigious blue collar world of that presumably most ordinary place, Cleveland, around Harvey himself, his troubles and joys, and most definitely his work at the VA Hospital. (That Pekar and his artistic collaborators did this in comic books was another point of originality, following the underground “nothing forbidden” comix.)

The story-telling daily strips, appearing in the Chicago Tribune just about a century ago, made the same artistic and narrative point, more or less. Before 1920, comics readers expected a joke climaxing in the last panel; the following day would begin the story anew. Now readers of the hugely popular dailies would look forward to daily lives that did not change very much, had precious few adventures, but offered a kind of assurance.

How many comics, thinking now on a global scale from the twentieth to the twenty-first century, have set out consciously or otherwise to teach readers to look at comics in new ways, and how many have succeeded? It is an imponderable, although claims could be made in many directions. Sybille Titeux de la Croix and Amazing Ameziane are struggling page by page to make their own large contribution. Their sincerity and their determination, perhaps even more than the expression of their talent, speak for this comic’s value and importance.

Amazing Ameziane: “Ms Davis is the third part of my first SOUL TRILOGY ( Ali / Attica /Angela).”

As history, it can be narrow and even flawed. In its last pages, we learn that Nikita Kruschev’s revelations of Stalin’s crimes, in 1956, sent Communism into its “final throes.”  This is more than a little too anticipative. Angela Davis would not have believed so (she resigned from the CPUSA in 1991). The Vietnam War, the survival of the Cuban Revolution, the Communist role in the South African struggle against Apartheid, the claims of China’s leadership….all these suggest something more than a detail absent in the overview. (On the following pages, the book turns our attention toward Neo-liberalism and here the book is accurate. Class society has grown worse.) Does this limitation harm Ms Davis? No, not much.

Perhaps we are not, after all, reading Ms Davis “as history,” but as an artistic statement about history and about the features in Angela Davis’s personal saga that are larger than herself. Drawing upon the most improbable sources of visual inspiration, changing formats almost page by page, Ms Davis is trying to teach us a different way of looking at comic art. Nothing, for me, is quite as stunning as the reuse of Emory Douglas’s styles, seen so vividly in the Black Panther newspaper of yore, so stripped of visual finery, so expressive in its message, artistically quite as if the artist, like the Panthers, invited death at the hands of violent authorities: revolution or martyrdom. How could Emory Douglas be combined with Norman Rockwell, the graphic artist of middle class contentment in “the best country in the world”? See for yourself.

Paul Buhle’s latest comic is an adaptation of W.E.B. Du Bois’s classic Souls of Black Folk, by artist Paul Peart Smith (Rutgers University Press).

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Thaddeus Stevens: The Great Commoner comics review

Thaddeus Stevens: The Great Commoner. writer Ross Hetrick. artist Noah Van Sciver. editor Paul Buhle. Thaddeus Stevens Society of Pennsylvania. 18 pp. $5.

Thaddeus Stevens is an American historical figure who is brought to life in this remarkable mini-comic. You may not recall or recognize the name, and that is part of the reason this little book has come into existence. Stevens is one of the most significant players in the fight for human rights outside of Abraham Lincoln and, some may argue, there is no Lincoln without Stevens. These are the kind of issues dealt with in this pamphlet-sized comic.

Fans of the work of Noah Van Sciver will appreciate the distinctive style and masterful use of the comics medium. If you haven’t gotten a chance, you’ll want to check out Noah’s landmark book from last year, Joseph Smith and the Mormons. You can read our review here. That same intense level of scrutiny, combined with brevity, is on display for this tribute to Thaddeus Stevens. At a brisk and steady clip, each page here packs a punch. We see how pivotal Stevens was in securing freedom and rights for America’s former slaves. Yes, it’s safe to argue that we needed to have Stevens in order to have Lincoln. In other words, we all know and honor Lincoln but credit must be given to the man at the forefront for the fight for freedom and human dignity.

Paper copies are $5 and if you’d like one, send an email requesting one to info@thaddeusstevenssociety.com and one will be sent to you with a self-addressed envelope to send back payment.

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Paul Buhle on Comics: The Cargo Rebellion: Those  Who Chose Freedom

The Cargo Rebellion: Those  Who Chose Freedom. By Jason Chang, Benjamin Barson, Alexis Dudden and (artist) Kim Inthavong. PM Press, 2022, $16.95.

Guest Review by Paul Buhle

This is a good-looking experiment in a kind of collective art-and-text. So much has now been written about the Trans-Atlantic slave trade—no full blown comic yet—that the subject of the “Coolie Trade” can now seem to have been somewhat neglected. Actually, Asian-American scholars, among others, have been working long and hard on documenting this story. But we have here a effort to bring the story to light for young readers in particular.

Legitimized by the Opium War of the 1840s, the forced opening of Hong Kong to British domination also opened wide labor contracts for impoverished Chinese workers from Hawaii to California and parts South, China to Peru. The artist and writers treat this passage as a slavery-equivalent and they have a point. Like the transport of workers from India to the Caribbean later in the century, it was coercion-or-starvation, albeit one that, for some, would bring integration into economies in post-slavery times, with possibilities of collective struggle emerging sooner in their trajectory.

The comic art helps to propose a different way of viewing struggle on the high seas. The American government wanted the struggle to be seen as piracy, on the basis of a dubious “law of the sea” passed in 1836. The Chinese Quing courts insisted that Americans had deceived and kidnapped the victims. Abraham Lincoln ended the “coolie trade” formally in 1862, although the book asserts on good authority that racial stigma rather than something like Black emancipation prompted the “great emancipator” to take this step.

The traffiking in human lives, Chinese lives, continued in the American West as railroads were built and assorted industries, notably cigar-making, opened the way for underpaid servile labor. Sam Gompers himself, outspokenly racist leader of the newly-created American Federation of Labor (AFL), testified to Congress against the presence and not merely the continuation of Chinese immigration and immigrants.

The Cargo Rebellion closes with a short scholarly essay on the “Robert Boone Mutiny” of 1852 and a commentary on “Teaching Asian Indenture” by Jason Oliver Chang. One could lament that the comics themselves do not take up enough of the pages in this book. But that the larger subject could be tackled with such energy and effort dulls this complaint. It’s a good book.

Paul Buhle

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Joseph Smith and the Mormons review: The Mormon Saga—in Comics!

Joseph Smith and the  Mormons. By Noah Van Sciver. New York: Abrams, 2022, 454pp, $29.99

Guest Review by Paul Buhle

This monumental work has a considerable backstory. Artist Noah van Sciver, the eighth of nine children, was born and raised in a Mormon home in New Jersey until his parents divorced when he was 12 and his mother brought him along a different path. This disjuncture, followed by others more typical of teens in the last third of the twentieth century, may have stirred his artistic impulse. No doubt he looked to the example of an older brother who went successfully into the Superhero comics big time. Experience, separation and a sort of rejoining the earlier world thorugh art: these are large themes in artists’ and writers’ lives for centuries. That Van Sciver has taken on Mormon founder Joseph Smith is no accident.

Van Sciver has a penchant for US history, especially the history of the nineteenth century, rife with religious and social contradictions, idealists, cranks, Protestant revivalists and utopians. Joseph Smith, unlike nearly all the others, was a successful institution-builder (Mary Baker Eddy with her Christian Science denomination might be another example).

The spectacular, world-wide growth of the LDS or Latter Day Saints, its weighty and deeply conservative political influence in Utah and beyond, is remarkable given the improbable origins of the Church. The extended and heavily institutional story of prophet Joseph Smith, considered by most non-Mormons a dubious self-creation, is offered here in splendid detail in remarkable color.

Van Sciver could have examined the saga from a psychological distance, and even chosen to play the iconoclast. His earlier books on U.S. history, from Lincoln to Johnny Appleseed and Eugene V. Debs, show something else: a penetrating treatment of personality within a vanished era. That he documents his study with careful explanations at the end of the book, and that he donated the original art for the book to Brigham Young University in Provo, Utah, is a measure of his seriousness.

Joseph Smith’s story is bizarre, a story about a discovery (he insisted) of golden tablets buried in the ground in upstate New York in the 1830s; a story about a church with outlandish views including (after a while) polygamy; a story that would not be the same in any other artist’s hands. Smith and his flock moved Westward with the great population shift of the mid-nineteenth century, and—this is crucial—they moved through natural and wondrous landscapes, which are drawn with stunning beauty and a certain strangeness by Van Sciver.

So much of the narrative has always seemed to critical observers as a magnificent case of American charlatanism, these days likely to be seen as pre-Trumpism. And yet Smith and his followers, staggering through bankruptcies, persecutions and the fatal defenestration of Smith himself, seen by Van Sciver, the observer-artist, looks like a revelatory detail of American history that seems in turn. . . a lot like the rest of American history.

Paul Buhle

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Thaddeus Stevens: An Infographic of an American Hero

Civil Rights Leader Thaddeus Stevens

It was my pleasure to connect with the Thaddeus Stevens Society and its president, Ross Hetrick. As a freelance writer and illustrator, I end up meeting a number of interesting people and learning a lot about so many subjects. In a visual thinker role, I can facilitate in clearing away the clutter, help organize thoughts, and make sure goals connect with results. That brings us to today’s infographic, a concise look at one of America’s lesser known heroes. Thaddeus Stevens was arguably the most important member of Congress during the American Civil War. His passionate and unrelenting work in support of civil rights helped lead the way to the Emancipation Proclamation, and the 14th, 15th and 16th Amendments to the American Constitution, all working to ensure the rights of Black Americans after the war.

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Review: ‘A Diary of the Plague Year: An Illustrated Chronicle of 2020’ by Elise Engler

A Diary of the Plague Year: An Illustrated Chronicle of 2020. Elise Engler. Macmillan. New York. 304pp. 2022. $34.

Just as we’re settling into 2022, there remains some of that deja vu all over again. We won’t shake off 2020 that easily and for good reason. Artist Elise Engler captures this monster of a year with her daily paintings of the news in this unique collection. What began as a more modest project, a daily painting routine begun in late 2015, took on a life of its own after Trump was elected president. At that point, Engler was compelled to follow the topsy-turvy trail of events all the way into 2020 and beyond. This book covers the first hint of Covid-19 in the news on January 20, 2020 all the way to January 21, 2021, the day after Joe Biden was sworn in as president.

Indeed, truth can be stranger than fiction. You just can’t make up some of the headlines from 2020. On May 19, 2020: “Despite FDA caution, Trump says he is taking hydroxychloroquine as a preventative, threatens to permanently end WHO funding.” And there you have the material for that day’s painting. Engler kept to a steady diet of WNYC radio, a credible news source with editorial positions that moderately favor the left. What’s interesting is the hybrid of sorts that Engler created with her work whether or not it includes an editorial slant. Part of it can function as an editorial cartoon or seem to. But, more to the point, you can see Engler mostly focused with just keeping up with the steady stream of news: a raging pandemic; racial tensions at a feverish level; and a most unusual presidential race.

At turns poetic, Engler’s dispatches can sometimes read as passages from a very compelling dystopian science fiction novel, albeit they’re all too real. Consider July 23, 2020, at random, but indicative of the whole: “House passes bill removing Confederate statues, other figures from Capitol; California surpasses New York in total COVID cases; Trump will send federal agents to Chicago.” All the elements in place, a perfect storm, a most frightening time to witness on any level. Page after page, Engler brings home the realities of our times in concise fashion.

Here’s the thing about the news, it’s hot one moment and then it can either heat up again or suddenly cool off. Bits and pieces, significant by themselves and part of a greater whole, are vulnerable to be trampled upon by the next freight train of even crazier and more explosive news. And heaven help those items of news with any hint of complexity from staying very long on the public’s radar, if at all. Consider November 28, 2020. Another day of news to be processed and lost: “Firing squad, poison gas could be allowed for federal executions under Justice Dept. rules; “Voters, not lawyers, choose the president,” judge writes in repudiation of Trump’s effort to halt PA election process; Iran top nuclear scientist assassinated.” Engler thoughtfully corrals these more elusive bits of data and pins them down in a compelling memorable manner.

Elise Engler proved to be at the right place at the right time having honed a means of production years in advance. To add to the urgency, Engler’s studio is in New York City, what became known as the epicenter of the pandemic, at least in the United States. From her drawing board, she was only a short walk away from a tent hospital set up in Central Park. As the violence and chaos unfolded throughout the year, the paintings became less formal, more open, more expressive. Some moments and images have become embedded in our collective memory. Smaller, more nuanced items, will recede into the background, but find a home in Engler’s book, a record from a seasoned artist who was there at her drawing board when it happened.

A Diary of the Plague Year: An Illustrated Chronicle of 2020 is available as of January 18, 2022 and his published by Metropolitan Books, Henry Holt and Co., Macmillan Publishing Group.

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Paul Buhle on Comics: ‘The Day the Klan Came to Town’

The Day the Klan Came to Town. Written by Bill Campbell, Art by Bizhan Khodavandeh, Foreword by P. Djeti Clark.  Oakland: PM Press, 2021. 128pp, $15.95.

Guest Review by Paul Buhle

This review begins with a personal revelation. I am more than comfortable to recall, privately and in public, the saga of my great great (maternal) grandfather, the farmer-abolitionist who marched with Sherman through Georgia. He lived long enough to spend time with my mother when I was a youngster and to regale her with stories of the Civil War. I am less comfortable contemplating my paternal grandfather, a pattern-maker and small shop-keeper who seems to have joined the KKK in Illinois shortly before he abandoned the family. Or was kicked out.

White folks by the millions have restless skeletons in their closets, of that there can be no convincing denial. How could it not be so in a deeply racist society? But some experiences are very different; and some involve real racial solidarity. The Day the Klan Came to Town offers us vivid details and precious insights. This story unfolds in African American comics writer Bill Campbell’s own home town in Carnegie, Pennsylvania, a town ironically and iconically named for one of the great cruel industrial tyrants of the American nineteenth century. (Admittedly, Andrew Carnegie was also the great benefactor of libraries and other public institutions.)

Clark reminds us immediately that the 1920s vintage KKK, perhaps as strong in parts of the North as of the South and largely in control of Indiana politics for at least a decade, could take shape as anti-Catholic, anti-Semitic, anti-immigrant, anti-black or all three, depending upon local circumstances. Campbell has taken pains to study the contemporary documents, maps and other records, of a conflict that really took place, one of many in the years shortly following the First World War. He reminds us that this is, importantly, often enough also an immigrant drama. Like many parts of Pennsylvania, industrial or mining, the conflict posed Irish, Cornish, Slav and several regions of Italians against each other as competitors for jobs, and against African Americans, in the schemes of rising capitalists to divert class resentments away from the strike waves of wartime.

Here we have, in Carnegie, Sicilian immigrants unlikely even to identify with a common national origin. They would not have been considered “white” until at least the 1930s in the US. Many a newly-erected KKK hall (as in my own hometown in Central Illinois)  of the 1920s bore the proud self-identification of “WHITE AND PROTESTANT,” marking Catholics clearly unwanted. Most Italian immigrants, especially those from Southern Italy had little political background in the Left or labor, but many responded to the appeals of the IWW and its working class militancy, likewise to unions organizing in the mine fields among other places. We count leading Italian-American leftists as some of the greatest organizers and poets, but they don’t seem to have got themselves to Carnegie, PA.

Here, in the first pages of the comic, Klan organizers present themselves as leaders of a respectable civic organization out to protect “American” cities from purported outsiders and non-whites. We soon flash across the seas to Racalmuto, Sicily of 1915, where young miners suddenly face the draft imposed upon them for cannon foder in the First World War.  They wisely choose migration.

Barely “Americanized,” they face a racist mob clothed in KKK uniforms. The African Americans among the city dwellers, not a large but a significant portion, respond first because they recognize the Klan.  Sicilians, in turn, recall the Fascisti and the rise of Mussolini sponsored by the ruling classes to defeat labor’s claim on the government. The artist is especially adept at moving back and forth, continent to continent, language to language. They learn to fight back.

The author and artist strive to emphasize the multi-racial and multi-cultural, multi-lingual character of the fightback, and a more severe critic might say that they try too hard. The shifts, Irish and Jewish and Italian to East Indian and Latin American, not to mention women and men taking their own roles or battling hand in hand, can be jarring at times. But the fightback of the immigrant crowd against the Klan offers page after page of real comic action.

This is a tight, well-drawn work in the best of comic traditions.

Paul Buhle

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Review: ‘Elegy for Mary Turner: An Illustrated Account of a Lynching’

Elegy for Mary Turner

Elegy for Mary Turner: An Illustrated Account of a Lynching. Rachel Marie-Crane Williams. Verso Books. 2021. 80pp. $17.46

“In this particular historical moment when young Black people are engaged in a renewed struggle against state violence, Mary Turner’s story resonates. She insists that we #SayHerName too.”

The phrase, “Seeing is believing,” is apt when thinking about the killing of George Floyd. It echoes lynching in America, done in plain sight, the perpetrators confident there would be little to no consequences. But these heinous acts were seen nonetheless, witnessed and documented. Rachel Marie-Crane Williams, an artist and teacher, has created a visual testament to one of the most horrific of lynchings: on May 20, 1918, in Valdosta, Georgia, Mary Turner, 8 months pregnant, was brutally murdered, set on fire, her live baby pulled out and stomped to death. The mob then shot at Mary Turner’s corpse hundreds of time. Mary Turner was lynched because she dared to object to the lynching of her husband, Hayes, the day before.

A work like this achieves not only the goal of informing but also of haunting the reader. These images, not meant to shock but to testify, will stay with you. The full-color art and collage work names those who were killed, identifies the killers, and evokes the landscape in which the NAACP investigated the crimes when the state would not. In the big scheme, these lynchings occurred only yesterday. A book like this one brings home that fact.

Page excerpt from Elegy for Mary Turner

Williams chronicles all the events related to a series of lynchings which included Mary Turner. It all began as a quarrel between Hampton Smith, a plantation owner, and Sidney Johnson, a modern-day slave working indefinitely for Smith who had an ongoing scheme of paying off jail fines in return for indentured servitude. The quarrel became heated. Smith beat Johnson. Subsequently, Johnson returned and ended up shooting Smith and his wife. He killed Smith. And he nearly killed his wife. She was pregnant at the time. This incident triggered a lynching spree, between May 17 to 24, 1918, of any Blacks in the surrounding Brooks and Lowndes counties. This resulted in a mob killing 10 men, one woman, Mary Turner, and her baby.

C. Tyrone Forehand (great-grandnephew of Hayes and Mary Turner) provides a postscript. There you will find vivid chilling details like this:

“Rufus Morrison was only ten years old when he was hiding in a cornfield along Ryalls Road in the town of Barney and witnessed Mary Turner’s execution. The memory of a frightened and bewildered woman was forever etched in his mind as he saw the mob tie a rope to her ankles and hoist her upside down from a tree. They taunted and jeered a terrified Mary as they began to roast her alive. One of the members of the mob took a swig of moonshine from a jug and spat it on her as another dared him to slit open her abdomen where her unborn child was oblivious to the fate which was about to befall it.”

The fact is that “seeing is believing” but it’s reading the facts that will give you an deeper picture.

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Brown v. Board of Education: Legislation Provides a Closer Look

National Trust for Historic Preservation

Brown v. Board of Education, the 1954 landmark Supreme Court decision, is known by many as essentially banning school segregation. The intent was to ban it altogether since it was ruled as unconstitutional. But first, there was resistance to overcome right from the very start. Today, we can look back at this process in many ways. One such path to understanding is legislation that secures the very places where history was made, the sites involved in the 1954 court case. It was not only a high school in Topeka, Kansas. The Brown v. Board case involved six different schools. In partnership with the National Trust for Historic Preservation, these sites are now part of the National Park Service thanks to legislation sponsored by Rep. James Clyburn and Sen. Chris Coons.

George E.C. Hayes, left, Thurgood Marshall, center, and James M. Nabrit, the lawyers who led the fight before the U.S. Supreme Court for abolition of segregation in public schools, descend the court steps in Washington, D.C., on May 17, 1954. The Supreme Court ruled that segregation is unconstitutional. (AP Photo)

Today, September 17, U.S. Senator Chris Coons (D-Del.) and House Majority Whip Jim Clyburn (D-S.C.) held a virtual press conference to announce their new legislation to honor and commemorate the historic sites that contributed to the 1954 landmark Supreme Court decision, Brown v. Board of Education of Topeka.

The purpose of this legislation is to expand the Brown v. Board of Education National Historic Site, to include historic sites in South Carolina and designate National Park Service (NPS) Affiliated Areas in other states. It would recognize the importance of the additional sites that catalyzed litigation in Delaware, South Carolina, Kansas, Virginia and Washington, DC, and expand the Brown v. Board of Education National Historic Site in Topeka, Kansas. The legislation was crafted in partnership with the National Trust for Historic Preservation.

The sites involved are in Farmville, VA; Summerton, SC; Hockessin, DE; Claymont, DE; Wilmington, DE; and Washington, DC. This new legislation makes these schools part of the National Park Service and brings them to the forefront as teaching and learning sites. It dramatically increases the visibility of these sites. 50,000 people each year plan their vacations including National Parks. The legislation also secures curriculum for teachers as well as stabilization and preservation of these sites.

illustration by Henry Chamberlain

Altogether, this is a great opportunity for understanding and learning from history. This definitely opens a window to education and inclusion. As Rep. Clyburn pointed out, only 2 percent of Black Americans visit National Parks. Why is that? Is it because, historically, African Americans have not been fully included? As Sen Coons pointed out, it is only when you can see yourself as part of the discussion that you will feel compelled to join.

Dig deeper and you discover so many facts. One of the sad backlashes to desegregation was that it became more difficult for Blacks to qualify to become teachers. Pushing back on that, as Rep. Clyburn mentioned, are such initiatives as a program advocating for Black teachers, Call Me Mister. As you look closer, you find the road blocks, for every step forward, two steps back. Another such sad case sprouts directly from Brown v. Board. In reaction to the Supreme Court decision, Virginia closed down its schools. It wasn’t until 1959 that schools in Virginia reopened and began to desegregate–and not until the early ’70s that the state completely accepted desegregation.

This new legislation follows in the spirit and values of the National Trust for Historic Preservation to rely upon “the power of places to teach.” For more information on the work being done at the National Trust for Historic Preservation, visit right here.

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Review: ‘Constitution Illustrated’ by R. Sikoryak

Constitution Illustrated by R. Sikoryak

Guest Review by Paul Buhle

Constitution Illustrated. by R. Sikoryak. Drawn & Quarterly, 2020, 128pp. $18.95.

Editor’s Note: It is a distinct pleasure to have Paul Buhle do the honors with a review of the new book by R. Sikoryak. As a side note, I had the opportunity to interview Sikoryak in 2019. You can read, and view, it here.

Deep thinking comic artists have been pretending to be non-serious since the early days of daily comic strip glory. Hard-working cartoonists stationed at their drawing boards would be seen as entertainers, and for a long time, they could hardly be anything else. If they had their own deep ruminations, they seemed to keep their seriousness to themselves. Even the fabulous Rube Goldberg, editorializing in 1949 about the fears of atomic warfare (the drawing got him a Pulitzer) made possible or probable catastrophe into a joke, his happy little domestic world, like any other domestic world, in danger of being blown to smithereens.

R. Sikoryak’s homage to Pogo in Constitution Illustrated.

“Pogo,” with a depth that at least a fair number of readers grasped in the work of Walt Kelly, may have marked a new stage, and never mind the earlier exceptions. Kelly was brilliantly droll but the issues were deadly serious. You could buy his books in oversized paperbacks, something that was also true of Li’l Abner, but for most readers, the heavy sexual suggestions of Daisy Mae surely overcame the New Dealish sub-content.

Talk about superheroes!

When comic art became “art” —from the most ponderous of underground comix to Raw Magazine—the old definitions seemed to go out the window. But did they? And so we get, sooner or later, to R. Sikoryak, the master of the droll, none better. If I were pressed to offer one candidate for author and book high definition comics today, it might well be Sikoryak and Masterpiece Comics (2009) and for this reason: the complex relation of text and image is not literal, random or even satirical in the usual sense. His art compels a second look or second thought, definitely not on the same wave length as the first one.

Sikoryak, born in 1964 and educated at Parsons, actually worked on Raw (so did Ben Katchor, among others), co-edited a Jam with Art Spiegelman, and set out on a career that includes books, illustrations for the New Yorker, World War 3 Illustrated and the Daily Show with Jon Stewart. He has also usefully raised the profile of other artists with his continuing Carousel slide shows.

Peanuts mashup.

He has one astounding narrative-artistic innovation, not entirely new but never so well developed before. As a post-modernist of the popular culture world, he recuperates the leading images of cartoonists of the daily and comic books perfectly, at least as well as the original artists drew them, but with entirely different dialogue. This could be a shtick and might be for other artists, but for Sikoryak, it is a serious method. The work of the original artists, be they E.C. Segar or Gary Larson, Chester Gould or Gary Panter, gains a new articulateness. The images are not randomly chosen, in other words.

The Unquotable Trump (2017), a political stroke, references what seems to me his seminal work, once again Masterpiece Comics, which quite literally goes through the Canon from the Bible to Dostoyevsky, with wonderful sidebars (Wuthering Heights re-enacted as an EC Comics horror-tale, for instance) taking apart the originals and re-enacting them.

Scrooge McDuck mashup.

His target in Constitution Illustrated is either more or less elusive. Precisely drawn versions of the most familiar and often the most familiarly banal comics, early classics to standard superheroes to the most miserable of the dailies—all are seen in these pages.

But wait. The text in Masterpiece Comics was taken from the apex of literature. The text in Constitution Illustrated is the…US Constitution itself.

What can you (that is to say the artist) do with THAT?

Americans now face the gravest constitutional threat within their own history, a history brief compared, for instance, to that the Chinese, but long in terms of a modern republic. Especially a republic claiming to be a democracy, even a model democracy.

Krazy Kat mashup.

The choices of “classic” comic art and excerpts from the Constitutional text are very carefully chosen. Popeye and Olive Oyl are seen on an eighteenth century frigate, warning Wimpy about Tax Duties on taxes and revenues. Albert Alligator (with a proper 18th century wig) warns a jury of Okefenokee residents about the rights of the accused at a trial. Nancy and Sluggo explain the apportionment principles in the election of a president. And so on.

One is more than entitled to ask: what does this add to the original? Or: are we only being entertained?

Sikoryak is too subtle to offer an answer. But there is an answer, underlying so much of his work. The inter-working of text and dialogue demands, like Brecht’s plays, the participation of the viewer. Passivity, the idea of this work as a joke, is repudiated. Whatever he was trying to do in The Unquotable Trump, he is also insisting upon here. Wake up, reader. Look at the constitution with new eyes. Or else.

Paul Buhle is the rare leftwing scholar of comics. He is coeditor of the Paul Robeson comic, to be published in October, and drawn by Sharon Rudahl.

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