Danilo Del Tufo is an illustrator in Quarto, Italy. I like his new comic, an adaptation of the Hans Christian Andersen classic tale, “The Little Match-Seller.” You can purchase a copy at LuLu.com right here. And you can find more details right here.
A burning light of hope.
“The Little Match-Seller” or “The Little Match Girl” (Danish: Den Lille Pige med Svovlstikkerne, meaning “The little girl with the matchsticks”) is a short story by Danish poet and author Hans Christian Andersen. The story is about a dying child’s hopes and dreams, and was first published in 1845. Del Tufo does a thoughtful job of evoking the great pathos in this story. This is an excellent example of a wonderful calling card in the form of a comic to showcase an artist’s work. And, of course, it is also a fine comic in its own right.
Seattle has a great love for books, film, music, and comics–not necessarily in that order. In fact, all those passions are not mutually exclusive. With that in mind, welcome the new kid on the block, so to speak, The Grumpy Old Man’s Comics, Art & Collectibles. Alan LaMont hails from Rochester, New York and he recently relocated to Seattle and is open for business with a shop that combines his love for comics and for art in general. The Grumpy Old Man is located in the heart of Seattle’s Ballard neighborhood on 1732 NW Market Street.
“A Kiss is Just a Kiss”
This video is a conversation with Alan LaMont, owner of The Grumpy Old Man’s Comics, Art & Collectibles. Alan chats about the store, Silver Age comics, and his new art show at the store opening on Feb 10, 2018 with a Valentine’s Day theme, “A Kiss is Just a Kiss.” Alan knows comics. He’s been a collector since the age of 4. His first big stash of comics put him through graduate school. If you are looking for some classic gems, or seek out some historical context to current titles, Alan has got you covered–along with one of the best comics subscriptions services around. Get your current single comics, graphic novels, and a nearly endless supply of comics collectibles from The Grump Old Man.
“A Kiss is Just a Kiss,” Grumpy Old Man’s February art show opens February 10, 2018. For more details, visit the Lamont Arts LLC Facebook page right here.
On a recent trip to Tacoma, I went to visit my dear friend, Dalton and his family. Our first stop was Tinkertopia. Dalton said it was just the place to go and he was so right. This place has everything in the way of quirky and functional art supplies and curios and such. Well, there’s a very practical and worthwhile side to this. Tinkertopia plays a vital role in the community as it is in the forefront of the reuse and do-it-yourself movement. Much of what is on display and for sale has been salvaged and recycled in some way in order to enjoy a new life as alternate artwork and arts & crafts supplies. Tinkertopia is also a prime location for workshops of all kinds, especially for kids.
As a cartoonist, I was quite taken with the mini-comics on display which, after a closer look, were the results of numerous 24-Hour Comics Day marathons. I am something of an expert of 24HCD, I suppose, as I’ve been creating comics during that event for a number of years. It’s always fun to see what comes from these comics experiments. The merry band of cartoonists that congregate at Tinkertopia enjoy a perfectly built-in ecosystem for such endeavors. The books on display are by R.R., that’s short for Rerun (aka RR Anderson), the master of ceremonies at Tinkertopia.
A fine and dandy drawing style by Rerun!
Many comics fans, young and old, are familiar with Rerun’s cartooning antics which feature the Hairy Mermaid. Rerun has as a clean and polished style. His sense of humor is highly irreverent and just a lot of fun. Rerun’s fluid line makes it all looks effortless and graceful. But I can see that he’s put in the elbow grease necessary to have a facile way with drawing trucks and squids flying through space from one panel to the next. A nice crisp style like Rerun’s comes from dedication and a genuine tireless love for the comics medium.
If you have a young inventor in the family, or want to throw a unique birthday party, or maybe need help with recycling, come to Tinkertopia. Founded by two Tacoma artists, Tinkertopia is all about resource conservation in partnership with local industries, educators, and activists. There’s always something on to inspire and to educate. In March, for example, you can take part in a workshop to build Tiny Treehouses and Leprechaun Lairs! There are numerous workshops and events at Tinkertopia that will have something for everyone. Go visit Tinkertopia right here.
And one final note: You want to know more about RR Anderson? Well, he’s the real deal trifecta: a cartoonist, inventor, and author. Check out his book, “The Tacomic.” As he puts it himself: “RR Anderson is one of the most curious alternative political cartoonists in FeedTacoma.com history. He fought bizarre underground beings in the lava tubes of Juneau, Alaska; was wounded by a laser before it was invented; and was a founding father of the Cartoonists League of Absurd Washingtonians (C.L.A.W.). Questions? Seek him out drawing on the sidewalk at Friday’s Frost Park Chalk Challenge in the center of downtown Tacoma. Ultimately his work is about friendship, need and other timeless values.” Visit RR Anderson right here.
“Discount Demon Deals” is a hilarious mini-comic devoted to demons by Michael Koehler. Done is a wacky style that would fit right in on Cartoon Network, Koehler’s demons are at once hideous and whimsical. The idea here is that this is a catalog presenting the latest in appealing demons. All you need is your demon credit card and a reasonable number of souls in stock in order to properly catch up on this season’s demons. For more details, visit Michael Koehler right here. And, if you are in Tacoma, be sure to stop by and see an art show featuring Koehler’s artwork this Saturday, February 3rd, from 6-8pm at Destiny City Comics:
Lore of the Lords – Showcasing the Art of Michael Koehler
Here are some more details from Destiny City Comics:
Lore of the Lords – Showcasing the Art of Michael Koehler
February 3 @ 6:00 pm – 8:00 pm Free
A strange look into the modern folklore and fantastic characters imagined by artist Michael Koehler, Lore of the Lords takes a tour through the tribes residing within the elusive cult realms.
“You enter through a dark whirlpool to find yourself at the mouth of a great trench. As you look around, you find this world is full of strange and mystical creatures. They seem to be some sort of ancient looking, animalistic people. Suddenly a large reptilian scout spots you and bellows out a deafening screech as you try to find your footing along the loose, rocky chasm. You see flying in the cloudy sky above, a bat like figure quickly descending upon you. You scramble out of the way just as it swoops down at your feet. Looking up at you with three crazed eyes and psychedelic features, it lets out several high pitched chirps and begins lurching toward you. A gang of grotesque bat faced creatures surrounds you as you look for an impossible escape. Each wretched bat drips with slimy plasma and is armed with arcane tools and primitive looking weapons. As a tall, fiery red faced man-bat leans into your face and sniffs piggishly, you utter, “What… where am I?” It lets out a wild cackle and replies, “You have entered our world through the black void, and so now, you are ours. Just as everything that enters… Into the Cult Realms.”
Be sure to visit and experience this highly original art firsthand. Facebook Event Page is right here.
Seattle cartoonists of all stripes have been gathering at a little cafe for years. It’s been a mix of aspiring, emerging, professional, and enthusiast. Over time, this frenetic energy organized into a group that met once a month. For five years, the group met at Café Racer. They socialized, they drew, and the end result was a bunch of comics that were gathered up and turned into a comic book that was published the following month. That monthly comic book was known by the gallant and nerdy name of DUNE. It was a remarkable undertaking. Sadly, Café Racer recently closed its doors leaving the group without their routine creative outlet. To honor and celebrate their collective activity, there will be an art show of DUNE comics at a pub, The Leary Traveler. The show goes up January 18th and will run for a month.
If you are in Seattle, this is a wonderful opportunity to get a taste of some local cartoonist activity or the underground comix scene, per se. In fact, there is an unusually high concentration of cartoonists in Seattle and the Pacific Northwest. That’s a subject far beyond the scope of this post and we’ll pick up on it more and more as we have over the years here at Comics Grinder. Suffice it to say, this art show is one of those special treats not to be missed.
Contributors to DUNE include well established masters of the comics medium (Roberta Gregory), painters and illustrators (John Ohannesian), brilliant young upstarts (Tom Van Deusen), exciting new talents (Gillian Rhodes, Handa, Rachel Scheer), enthused amateurs, and sometimes a non-artist or two who stopped in for beer and bravely decided to join the drawers. Sometimes the artists with the least “polish” end up turning in the pages that are the most clever, funny, and/or emotionally raw.
This show was organized by Push/Pull of Ballard, David Lasky, and Maxx Follis-Goodkind. The show poster is by comix artist Mark Falkey, who has been with DUNE since the first issue. The Leary Traveler is located at 4354 Leary Way NW in Seattle’s ‘Frelard’ neighborhood (the urban sprawl between Fremont and Ballard). The DUNE art show opening, takes place on Thursday, January 18th, from 6 to 9 pm. Expect many artists to be in attendance.
Jane is 16 years old and believes that she does not know how to live her life. We can all relate to that–but Jane’s world is far more complicated, set in the distant future where robots are capable of providing human companionship. “The Silver Metal Lover,” the 1981 cult classic science fiction novel by Tanith Lee, was adapted in 1985 into the highly engaging graphic novel by Trina Robbins. It has never been reprinted in any form until now. Drew Ford runs his own imprint at IDW called IT’S ALIVE! and he has a stellar track record for finding gems from the past and giving them a whole new life. A Kickstarter campaign in support of an exciting new edition is reaching its final stages, closing January 5th. Check it out right here.
THE SILVER METAL LOVER by Trina Robbins
This new edition will have a new cover and afterword by Colleen (A DISTANT SOIL) Doran, a new foreword by Gail (BIRDS OF PREY) Simone, and a new intro by Trina Robbins herself. All of this will be printed at 8.5″ x 11, full color, on glossy paper, all tucked inside a beautiful hard cover.
Drew Ford on this very special project:
“This cult classic science fiction romance is an important early example of ‘the graphic novel’ as a storytelling vehicle, telling an intimate story of a young girl’s first love…who just happens to be a robot! We are very honored to shine a light on the brilliant work of the late Tanith Lee. And we are thrilled to be working on our second book with the legendary Trina Robbins! Also, we must send out a huge THANK YOU to Colleen Doran and Gail Simone for coming along for the ride! We hope you will give it a look, and consider making a pledge.”
Many exciting rewards are being offered, including signed copies of the book, exclusive prints from Colleen Doran, sketches by comic book pros, and even original pages of comic book art by Trina Robbins!
This is a book that is sure to please fans of science fiction and comics alike. Visit the campaign right here.
Hillary Chute is a well-regarded authority on comics, the author of a number of impressive titles, including her latest work, “Why Comics? From Underground to Everywhere,” published by HarperCollins. Manohla Dargis, one of the chief film critics for The New York Times, recently wrote a review giving the book high praise. Ms. Chute is a professor at Northeastern University and the associate editor of “MetaMaus,” the companion book to Art Spiegelman’s landmark graphic novel, “Maus.” The centerpiece of “MetaMaus” is an interview of Spiegelman conducted by Chute.
In this interview, I ask Ms. Chute if she would share with us some of the background behind “MetaMaus” as it is, in my view, inextricably linked to her new book, “Why Comics?” I note, in my interview, that there is even a moment in a comics introduction to “MetaMaus” where Spiegelman ends up naming the three key subjects he’s always asked about. First on the list, “Why Comics?” And so I pose that question in a series of questions about a book full of answers. And, ultimately, we find ourselves focusing on the auteur, the lone individual, creating a work of comics, just like any other artist. We are talking about comics as an art form.
WHY COMICS? by Hillary Chute
HENRY CHAMBERLAIN: In your new book, “Why Comics? From Underground to Everywhere,” you share with the reader what you’ve learned about comics from your vantage point. You have interviewed a number of trailblazers. Let’s start with Art Spiegelman. Would you share with us a little bit about your background and how you came to work with him?
HILLARY CHUTE: Working with Art Spiegelman has been one of the most influential experiences of my life–certainly in terms of learning about comics. I was a graduate student getting a PhD in English at Rutgers University in New Jersey and I got very interested in “Maus.” It became a part of my dissertation. I wrote a dissertation on nonfiction comics that was inspired by “Maus” and had a long chapter on it. One of my students, as I was a graduate teaching assistant, was starting an online comics criticism magazine (Indy Magazine) and he asked me if I’d write something for it about “Maus.” I agreed and, lo and behold, Art Spiegelman read the piece, which was online and had an e-mail attached. He contacted me and invited me to a party at his house in New York City, where I was living.
Meeting Spiegelman was like winning the lottery as, at that point, I had spent years researching the Spiegelman archives, underground comics, and his more obscure works. The party was to celebrate the 25th anniversary of Raw magazine. This was 2005. Raw started in 1980. So, at this party I met Chris Ware, Charles Burns, and Kim Deitch. It was all the more like winning the lottery.
Quite the experience!
Yes, it was quite the experience! Suddenly, I was in a room with a number of people whose work I deeply admired and I never thought I’d have a chance to meet. After the party, Spiegelman and I kept in touch, we regularly talked about comics, and eventually he asked me to work with him on the book project, “MetaMaus,” which was published by Pantheon in 2011. He and I worked on the project together for over five years. So, we became quite close. The core of the book is an interview between Spiegelman and me. What we did, which was so much fun for me, was that we just talked for two years.
We recorded interviews for two years. He never wanted to know the questions in advance. He wanted to keep it conversational. So, I would prepare my questions, go over to his studio, and ask him questions. We would talk for hours and hours. We would then get transcriptions made of our conversations. I edited well over a thousand pages of transcripts into the 250 or so pages that are in “MetaMaus.”
That is just amazing. For me, transcribing just one interview can be a daunting task at times–but to do two years worth of interviews!
Thank God, I wasn’t doing the transcription, just the interviews!
I have started to reread “Maus” byway of just getting a copy of “MetaMaus.” I am really enjoying it. I had wanted to make clear, as you’ve just said, that you are the person conducting the interviews. That is the core of the book–as well as a whole lot of other wonderful things that go along with it too.
Right, there are visuals on every page that we picked out to help illustrate what we were talking about at the time.
Well, it’s genius. The concept is genius. Of course, I haven’t finished it as I’ve only just gotten it. But, what I’ve read so far is just wonderful.
It was a real privilege to be able to work with him on that. I’m so gratified that you’re finding it useful and interesting. It wasn’t like the thirteen years that he spent working on “Maus,” but we spent five to six long hard-working years on that book. One of the things that Art taught me, related to all aspects of producing something and that comes from his being a cartoonist, is the art of condensing–and the art of being economical. I think that’s why it took us so long because we generated the material for that book in a leisurely way-so that we could really be expansive–and then the task was to make it an economical object. He was a great model for that.
“MetaMaus” and “Why Comics” are very naturally intertwined. It was a treat for me to read the comics intro that Art Spiegelman does for “MetaMaus.” He says he’s determined to answer all the questions he keeps being asked. And he begins with, “Why Comics?” There’s the title to your book, right there!
It’s so funny. When Art and I were working on “MetaMaus,” I had in mind that he was, not consciously but on some level, structuring our book–which is “MetaMaus–after “Maus,” which is a series of expansive conversations that he had with his father over years. So, it seemed like a mirrored project. And then I realized recently, since it wasn’t at the top of my consciousness–if you can believe it–that the title of my book borrowed the title from one of the chapters from “MetaMaus,” which Art and I came up with together. So, it showed me how my book, in way, is a reflection of “MetaMaus.” So, it’s like a chain that keeps on going.
The concept of time in comics really gets me, which you discuss at length in your book. I have a quick quote from Art Spiegelman that I’ll bring up to the surface: “In their essence, comics are about time being made manifest spatially, in that you’ve got all these different chunks of time–each box being a different moment of time–and you see them all at once. As a result you’re always, in comics, being made aware of different times inhabiting the same space.” Would you talk a little bit about that?
That, to me, is one of the most powerful things about comics as a medium. I think Scott McCloud put it quite well in his book, “Understanding Comics,” which seems quite schematic to a lot of people but then there’s a moment in that book when he just says, “Time in comics is really weird.” I’ve always loved that moment in his book–because time in comics is really weird. One of the powerful things that a work like “Maus” shows is that range of formal experimentation that comics grammar has at its disposal–with panels, and gutters, and tiers–is incredibly effective for work that is about history, the movement of history, understanding history. The central premise of “Maus” is that the past isn’t really the past. The past is informing and clearly inhabiting the present. The fact that Spiegelman can make this so literal on the page–by collapsing moments of time in addition to just juxtaposing them–I think is incredibly powerful. Because it illustrates that history isn’t always linear and it isn’t always progressive. I think there’s something really incredible about what comics can do with time and space.
BLACK HOLE by Charles Burns
What do you suppose young people might not know about comics?
I think that some people who have grown up reading a lot of comics, like my students–who experience comics in so many ways–I think that they might not have thought about just how difficult and labor-intensive it is to create comics. One of the things I wanted to do with this book was to tell stories about the careers of different important cartoonists in part to show the kind of labor that goes into comics. I mentioned before that “Maus” took thirteen years for Art Spiegelman to complete. Charles Burns took ten years to complete “Black Hole.” Alison Bechdel took seven years to complete “Fun Home.” I learned from working with Art that he did at least a dozen studies for each two-inch high panel in “Maus.” There’s just a huge archive of studies, outtakes, and draft pages. I think that comics can be so pleasurable and gratifying to read that sometimes students aren’t aware of just how much deliberation goes into every tiny flick of the pen.
I know this from my own experience–and my partner, Jennifer–we’re both cartoonists.
I’m preaching to the converted!
GHOST WORLD by Daniel Clowes
It’s very typical for a significant work of comes to take at least five years to complete. I wanted to focus on a portrait of today’s independent cartoonist. I don’t see any way around it–although there are some variations–the work has to all be done by hand to gain the most. You begin to farm out things–everything from the lettering to the borders–and, bit by bit, you lose something of the luster to the work.
I agree with you. I profile one creator, Harvey Pekar, who is an example of successful collaborative work. But I think you put it really well when you say that something is lost when you get too many hands working on the piece. In my thinking, and perhaps it comes from my background in literature and novels, is the intimacy of comics. I think it’s what you get from seeing one person’s vision: seeing the same hand that creates the images as well as the words. You get a real world-building happening on the page when it’s done by one person. I think there’s something unique about comics in that way. People sometimes call them auteurist comics, which I believe you touch upon in your review. When you think about it, the term “auteur” comes from film, the New Wave French cinema and people like Godard. But, even on a Godard film, there are many people working on that film whereas a cartoonist like Dan Clowes, it’s just him through and through, the whole thing. It’s really a purchase on a person’s aesthetic vision.
It’s whatever the cartoonist wants to bring to his work. There really wasn’t a place for me to go to just study comics back in the ’80s or ’90s. What I needed was to devour literature and fine art. I ended up majoring in painting. That’s what I needed–even if what I wanted to do was to go back and focus on comics.
That really resonates for me with many of the people who are profiled in “Why Comics?” Chris Ware went to art school, although he dropped out. Charles Burns majored in Printmaking because one could not major in Comics back then. Alison Bechdel applied to art school but didn’t get in. Justin Green went to art school. So did Aline Kominsky-Crumb. And Dan Clowes. There’s a sense among all these people that they knew all along that they wanted to be cartoonists–but they didn’t have that available to them as an option in art school in the ’80s and ’90s. So they did something approximate–like printmaking. Now, everything has shifted up to where you can get an accredited degree in Comics.
Would you touch upon Raw magazine since so much came out of that: not only Art Spiegelman but Chris Ware, Charles Burns, and so many others.
Raw magazine and Weirdo (edited by Robert Crumb, Peter Bagge, and then Aline Kominsky-Crumb) are in my thinking the two most important alternative publications of the ’80s and ’90s. Really cementing post-underground comics as important alternative culture. I think that Raw’s influence can’t be overstated. Raw set the tone for over thirty years. And the reason, I think, that they were able to do that is because they created that culture for themselves. That relates to my chapter on punk as well as others. When Art Spiegelman and Francoise Mouly set out to create Raw, they bought a two-thousand-pound secondhand printing press that they had to haul up to their fourth floor walkup in SoHo. It’s the home they still live in, although the printing press is now no longer in their living room.
They did it themselves and that meant complete artistic freedom. It was really a post-underground moment as they weren’t dealing with any editorial strictures, except their own. It also meant that they were trying to distinguish the work in Raw from underground comics by making a magazine with very high production values. It was a way to have people in the art world pay attention to something beautiful that they would want on their shelves…which is a slightly different aesthetic from newsprint and the ephemeral ethic of underground comics. They were taking the powerful do-it-yourself ethic of underground comics but taking it further with a high-end design sense.
“Jimmy Corrigan: The Smartest Kid on Earth” by Chris Ware
I want to emphasize that each chapter in your book is a category and each is inter-related. So, for example, Chris Ware can figure prominently in more than one chapter. Would you speak to how your organized “Why Comics?”
I have to say that Chris Ware does get the most play since he’s the central figure in two chapters–which felt right to me. I’m an academic by training and I had published three academic books before this new book. The idea was to create a book for a wide audience, which I was keen to do since I think one of the most powerful things about comics is that they’re pitched for a wide audience. Without sacrificing sophistication, I wanted to really not make it boring. I thought that to just have a chronological evolution of comics would be too boring. It would be too academic. It didn’t seem exciting to me. So, I hit upon the idea of themes. Part of the reason I loved structuring the book around themes is that it allowed me to bring in a lot of different kinds of analysis. I could tell the story of a particular cartoonist but I could also sneak in some history of comics. It may not be delivered in a chronological way but I aimed to have coverage and the themes really allowed me to do that.
LOVE AND ROCKETS: NEW STORIES #1, 2016
Let’s turn our attention to the cover art, an original “Love and Rockets” piece by Jaime Hernandez especially made for “Why Comics?” Do you think “Love and Rockets” is still a comic a lot of young people are not aware of or are they actually more aware of it than we may realize?
That’s a really interesting question. I’m so glad you asked about the cover. It makes all the hard work of creating a book worthwhile to have Jaime Hernandez do an original work of art for the cover. He asked me what I was thinking for the cover and I immediately said, “Women.” I think that is what Jaime Hernandez does best. He put four characters from “Love and Rockets” on the cover and I was elated. I think that people of my generation, in their 30s and 40s, absolutely adore “Love and Rockets.” It began in the ’80s. I started buying it in the mid to late ’90s and just fell in love with it. I hope that this book serves to introduce some younger readers to just how fascinating and also just how feminist “Love and Rockets” is. I think, especially in this time that these interesting, fleshed-out, complicated characters fill a gap. It is also important to note that, in 2016, Fantagraphics did a reboot to this comic in a slightly different format.
The cast of Fun Home: Beth Malone, Judy Kuhn, Sydney Lucas, Michael Cerveris, and Emily Skeggs, photographed in New York City. Photograph by Mark Seliger.
I am also compelled to talk about Alison Bechdel. Would you share some thoughts.
Alison and I co-taught a course at the University of Chicago in 2012 on comics and autobiography. It was called “Lines of Transmission: Comics and Autobiography.” It was such a thrilling experience to be in the classroom with her for an entire term. We taught a mix of theory and practice course. Every day we’d have drawing exercises led by Alison and then every day we’d also talk about history and theory of autobiography and how comics comes into that.
I think it’s hard to adequately describe Alison Bechdel’s influence in comics on the 21st century and then also go back to the 20th century and her comic strip, “Dykes to Watch Out For.” So, she’s just been a huge figure in the comics scene for decades. “Fun Home” was a breakout hit in 2006 and it really called people’s attention to comics, for a broad swath of the population–in a way that was almost unthinkable previously, outside of Marjane Satrapi’s “Persepolis” and maybe Chris Ware’s “Jimmy Corrigan,” which came out in 2000. To have “Fun Home” named Book of the Year by Time magazine in 2006 was huge. It got written up in the Village Voice, where I wrote about it. It got write-ups everywhere, in People and Entertainment Weekly. Alison was already well established among the comics cognoscenti but, after “Fun Home,” she became a household name in the entire country and in Europe. It’s been translated into Chinese, among many other languages. It was a phenomenon on the scale of “Maus.” And then to have it become a Broadway musical and win a Tony Award for Best Musical–you can’t get more mainstream than Broadway! It just underlines that the book, as powerful as it is, had added resonance beyond the original content. “Fun Home” was a real inspiration for my book. I open the introduction with an epigraph from Alison Bechdel. She says, “Comics is like learning a new syntax, a new way of ordering ideas.” To me, I think that’s a beautiful description of what comics does.
PERSEPOLIS, the animated movie, 2007
I think we’re making a lot of progress. Most people can name at least three graphic novels: “Maus,” “Persepolis,” “Fun Home.”
“Persepolis” is similar to “Fun Home” in that it was adapted. In this case, to an animated movie. The “Persepolis” animated movie, which was co-directed by Marjane Satrapi, was France’s entry for the Best Foreign Language Film to the Academy Awards. That was really groundbreaking as animation had never been entered by France in the category. It didn’t win but it win at Cannes which was a phenomenon in itself.
What do you see in the future for comics?
It will just keep on growing. Now, bear with me, but I think that Bob Dylan winning a Nobel Prize for Literature for his music is actually a sign of the changing times in a way that shows us where comics is going to go. I think there’s so many rubrics now through which comics is understood and the fact that it is routinely and regularly being understood as literature–which isn’t to say a work that references literature–but the fact that it is being understood itself as literary, as complex and as sophisticated as people expect from a literary work, is helping all of us redefine what literature is. It means that comics is going to keep on being in all sorts of different spaces: in bookstores, in museums, passed around among kids, in comic book shops, in college classrooms, in grade school classrooms, in graduate classrooms, it’s everywhere. Comics journalism is a thriving area. You can now open up any top notch news venue and find a work of comics journalism. Joe Sacco published work on the Iraq War in Harpers. That was extraordinary to me. Harpers was a prime venue for artist-reporters during the American Civil War. There will no area where you won’t be able to find comics and that makes me happy.
Give it a few more years and the general public will be ready for a “Love and Rockets” movie.
Yes! That would be some movie. How are they going to condense all those years of the serial into one movie?
I know. Well, thank you, Hillary.
Thank you, Henry! It was an honor for me to have you review the book and to be on this podcast!
You can listen to the podcast by just clicking the link below:
Peter Kuper is one of the great cartoonists and any book by him is a treat. In this case, you have a highly creative individual out and about for two years in a most stimulating environment, Mexico, specifically in Oaxaca. What could be better than his sketchbook journal of his two years there? The paperback version of his “Diario de Oaxaca” recently came out from PM Press.
Pages from “Diario de Oaxaca” by Peter Kuper
Kuper follows his heart and stream of thought to deliver page after page of enchanting work. He has a special multi-colored pencil that he uses. The lead in the pencil is made up of various colors. That allows much greater spontaneity as he can instantly shift the pencil to get a different color and then another and so on. He seems to have most fun with creating work that has that look of being on the fly–but can also be a mix of a long day, or night, of contemplation.
The sense of excitement and discovery is palpable. In a similar quick manner, he jots down numerous observations in prose as well. The joie de vivre takes a decidedly sober tone as Kuper finds himself covering a fight between strikers and government troops that left more than 20 people dead, including American journalist Brad Will. The end result is that Kuper manages to capture both the light and the dark of Oaxaca in an extarordinary collection of dispatches.
“Diario de Oaxaca: A Sketchbook Journal of Two Years in Mexico” is a 208-page paperback with full color artwork throughout. For more details, visit PM Press right here.
Book Giveaway: Be sure to visit tomorrow when the Comics Grinder Winter Giveaway kicks off. Among the items that will be available will be a copy of “Diario de Oaxaca.”
“Why Comics? From Underground to Everywhere,” by Hillary Chute, published by HarperCollins, is a highly informative, accessible, and delightful look at the evolution of comics, with the primary focus on American comics. As the title suggests, what used to be strictly an underground thing has now emerged virtually everywhere. Chute’s goal is to unpack that phenomenon. She goes about it with great enthusiasm and clearly makes a significant contribution to the ongoing writing about comics. This is a must-read for anyone interested in pop culture, comics, and art in general.
Zap Comix #1, 1968
Okay, so comics are everywhere. Who, for instance, are the characters gracing the cover to this book? Chute, a natural teacher, is so glad you asked. She will come right out and tell you who and then explain the interconnections. First of all, this is Maggie and Hopey, lead characters in what is understood by many to be the greatest ongoing comic of them all, “Love and Rockets,” by the Hernandez Brothers. Where did this comic come from? How does it fit in with other comics? Why is this comic significant? Ah, for that matter, you may shout out, “Why Comics?!” Chute is happy to answer all your questions and much more. Well, this comic is part of a second wave of underground comics in the ’80s. And this comic is a response to a lot of things, including a lack of diversity in mainstream comics. But, before that, there was the original wave of underground comics in the Sixties led by R. Crumb and his Zap Comix. And, as many a conversation on the comics convention floor on zines and mini-comics will attest, even today’s superhero comics genre all began as indie comics by two teenagers, Jerry Siegel and Joe Shuster.
Page excerpt from Art Spiegelman’s MAUS
Chute’s search for patterns in the making of comics leads her to some of the most celebrated trailblazers, notably Art Spiegelman. Chute was the associate editor of “MetaMaus,” the definitive companion to Spiegelman’s “Maus,” and she has a great deal of insight to share. Chute guides the reader from Spiegelman, in his youth in San Francisco to his subsequent work in earnest. It was in 1972 that Justin Green, author of the first autobio comic, “Binky Brown Meets the Holy Virgin Mary,” invited Spiegelman to contribute to a comics anthology. The only stipulation was that the work had to feature anthropomorphic animal characters. And so began Spiegelman’s first steps toward the work in comics most people are aware of, “Maus.” Chute then follows Spiegelman’s progress as he reaches great heights of creativity. Here below, Chute describes how Spiegelman plays with the fluidity of time:
“Spiegelman creates a physical connection between panels set in the past and panels set in the present, linking them, as in panels in which Art’s cigarette smoke is figured as the smoke coming out of an Auschwitz crematorium chimney directly below it on the page. But in others, he exploits the language of comics–the convention that each panel represents a distinct moment of time–to make two different time periods literally intertwine. We see this in the striking page in which Vladek, Art, and Françoise–herself a character in ‘Maus’–converse in the Catskills during a summer visit to Vladek’s bungalow. On their way to the supermarket in the car, Art changes the topic from his stepmother, Mala, to Auschwitz, asking his father about a prisoner revolt. The last panel of the page, in which Vladek describes its fallout, is its largest: as the family car weaves through dense rural roads, the legs of four Jewish girls hanged in Auschwitz after the revolt–witnessed firsthand by Vladek–suddenly appear dangling from the trees. The 1940s and the ’70s collapse, as Spiegelman shows, wordlessly, how the traumatic past lives on in the present.”
Page excerpt from Marjane Satrapi’s PERSEPOLIS
Much in the same way that the 1951 landmark coming-of-age novel, “The Catcher in the Rye,” by J.D. Salinger, became the template for aspiring young novelists, so too did “Maus” serve as a guide for cartoonists on the rise. Observe how Marjane Satrapi’s “Persepolis,” first published in 2000, follows a similar format and technique as Spiegelman’s landmark work. Certainly, Satrapi’s work is wonderfully original. That said, it does follow certain style and content choices first established by leading artists such as Spiegelman. Chute is not making this particular argument but she does lay out the characteristics of what has become accepted in a work by an independent cartoonist: the work is honest, personal, and usually autobiographical; the work is all done by hand, including the borders and lettering, with a less polished finish than mainstream comics; and the work is usually done by one person. In that sense, Satrapi is following in a tradition begun by such artists as Crumb and Spiegelman.
Panel excerpt from Chris Ware’s BUILDING STORIES
Another cartoonist who looms larger in Chute’s book is Chris Ware–and for good reason. The history of American comics is essentially Winsor McCay leading the start and Chris Ware leading the current state of affairs. And it is both of these cartoonists, and so many others in between, who seem to share Ware’s tragicomic point of view of being “well-appointed and feeling lonely.” Cartoonists are something of exotic birds to begin with–whether or not the public notices. But to really make one’s mark in comics, to resonate with critics and fans alike, is quite an achievement. One achieved by such cartoonists as Chris Ware, Charles Burns, and Gary Panter–all of whom would get their big breaks by appearing in Raw magazine, a comics anthology led by Art Spiegelman.
Gary Panter cover for Raw #2.1, 1989
Chute organzies her narrative within categories such as “Why Disaster?” and “Why Sex?” Each chapter category acts as an umbrella that covers a certain facet of comics. In the chapter, “Why Punk?” Chute describes the rise of two friends deeply involved with the punk movement: Matt Groening and Gary Panter, along with other relevant artists like Raymond Pettibon. As for Groening and Panter, they held to their punk ideals while also driven to succeed–“The Simpsons” for Groening; “Pee-wee’s Playhouse” for Panter. Chute makes sure to point out that Bart Simpson–the cartoon character everyone thinks they know–is, in fact, a sly reference (right down to the jaggedy crewcut) to Panter’s underground hero, Jimbo, the antithesis of the mainstream. And, as Chute’s title declares, comics have gone from the underground to everywhere in more ways than one.
Matt Groening holds up Bart Simpson and Gary Panter’s Jimbo
“Why Comics? From Underground to Everywhere” is a 464-page hardcover published by HarperCollins. For more details, visit HarperCollins right here.
“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.