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Interview: Karen Green, the Curator for Comics and Cartoons for the Columbia University Libraries

Karen Green at Butler Library, Columbia University

I was recently in New York and had the pleasure of interviewing Karen Green, the Curator for Comics and Cartoons for the Columbia University Libraries which collect both graphic novels for the circulating collection in the Butler Library stacks and also creator archives in the Rare Book & Manuscript Library. The interview was a great treat and I share it with you here. Afterwards, I got a chance to go on my own and explore the stacks at Butler Library. The vast collection that Karen Green has helped to put together really lends itself to this sort of intimate hands-on exploration in real time and students in all disciplines are welcome to come explore for themselves. For more information, on Comics in the Columbia Libraries, go right here. I include here some photos of some of my discoveries exploring the stacks.

Butler Library at Columbia University

The Columbia University Libraries collect both graphic novels for the circulating collection in the Butler Library stacks and also creator archives in the Rare Book & Manuscript Library.  The circulating collection launched in 2005, when the libraries held three titles, and by the end of 2015 the collection featured roughly 10,000 titles in over two dozen languages.  The archival collections, which already contained disparate comics holdings, launched in earnest in 2011, with the acquisition of writer Chris Claremont‘s papers.

Remaking the World, at Columbia University, Kempner Gallery

The circulating holdings contain a diverse collection, with mainstream and alternative titles, archival reprints, independent comics, Kickstarter projects, and other content.  These materials have been used in courses from East Asian Languages and Cultures, to English and Comparative Literature, to Narrative Medicine, and have been featured in the American Studies course “The American Graphic Novel.”  Students have used the collection for term papers, senior theses, and M.A. essays.

Out of the Depths (sinking of RMS Lusitania on May 7, 1915) by Oscar Edward Cesare, pen and ink on board.

We had a brief and informal chat after Karen provided me with a tour of the comics collection in Butler Library. Back at her office, Karen shared with me a syllabus for an upcoming summer class she will be teaching. The proposed reading list and schedule includes Doctor Fate, with guest speaker Paul Levitz; All the Answers, with guest speaker Michael Kupperman; Bad Girls, with guest speaker Alex De Campi; and Prince of Cats, with guest speaker Ronald Wimberly.

The Suffrage Amendment, Another Dark Alley to go Through! by Kenneth Russell Chamberlain (1891-1984), pen and ink on board.

Lastly, just to demonstrate how easy it is to roll into a tangent when you’re surrounded by such treasures, I couldn’t help but spend some time observing the current show in Kempner Gallery at Butler Library. It is entitled, Remaking the World, and it relates to important issues after World War I. I happen to have rested my eyes on a political cartoon on women’s suffrage in the United States. The cartoonist is Kenneth Russell Chamberlain. Any relation to me? Well, I’m not sure. I don’t think so but I’ll have to see to make sure. Even more uncanny to my possible connection is just how relevant the cartoon is today! We’ve made so much progress but we certainly have great challenges still ahead of us to say the least.

HENRY CHAMBERLAIN: Please share with us how the Comics and Cartoon collection came about at Columbia. 

KAREN GREEN: It was 2005. I had just rediscovered graphic novels after a 12-year hiatus and was frantically buying graphic novels to feed my fascination with what was going on. I hit up against the wall of a librarian’s salary and thought about how nice it would be to check out these graphic novels from my library. However, at that time, we only had three graphic novels: Maus, Persepolis, and Palestine. We had Maus because every library has Maus. We had Persepolis and Palestine because Edward Said, the great scholar of Orientalism, taught here and those titles were on his reading lists. So, I thought about ways to frame a proposal for graphic novels. I brought together the stakeholders who I thought would be most interested: our American Studies librarian, our Graphic Arts librarian, and our Fine Arts librarian. And I developed a three-fold argument. The first prong was: this is a field, a medium, that is getting increasing academic and critical acceptance. I was able to show them articles from peer-reviewed academic journals along with The New York Times and The New Yorker. The second prong: Columbia has a film school and a film studies program. Already in 2005, the connection between film and comics was pretty strong and obviously only stronger now. It made sense for those students to have access to this raw material. And the third prong was a little bit more sentimental. Columbia’s full name is Columbia University in the City of New York. New York City is where American comics were born. No academic institution in New York was systematically collecting comics in any form. So, I thought that these two New York City institutions, comics and Columbia, could profitably form a partnership and that we could be the place for these things to be collected in. I presented this argument to a group of my colleagues and they agreed and provided some funds. It was a small budget to start with and it’s a lot more now.

Why do you think it took so long for a comics collection to become part of Columbia?

I think, for the most part, in universities, libraries respond to the curriculum. In this case, I was creating a demand for the curriculum. My feeling was that this is an important area. I was getting to know more and more people who were scholars in this field of comics studies. I felt that if I built a collection and it started getting noticed by faculty and grad students, then coursework and research and learning would follow–and that has turned out to be the case.

Having this vast collection, do you see patterns in the graphic novels that you’re looking at?

What’s interesting in the medium is that the big genre in comics is really the same as the big genre in prose which is memoir. I teach a summer course…it used to be called “Comics as Literature,” which I inherited. I don’t teach it as literature since I see comics as a primarily visual medium. I teach it as “How to Read Comics” or “How to Read This Comics Language.” And, I was trying to teach it by genre as a nod to the English Department and, one year, one of my students pointed out that although I had varied subjects (journalism, war stories, social activism), they all turned out to be memoirs! I try now to very consciously make the reading list more diverse so that we have memoir, reportage, fiction, history, and biography.

I think the natural inclination for the creator is to do memoir. So they end up needing to make a concerted effort to break free from that.

Write what you know and what do you know better than yourself!

Even if you’re not writing about yourself, you end up writing about yourself.

Absolutely.

What do you think is the typical young person’s approach to comics?

The course that I teach in the summer is mostly taken by our students in our School of General Studies, which is a school for returning students. They are not required to take as many of the courses as Columbia’s core curriculum. My course serves as a substitute for the foundational great literature course, Literature Humanities. Many of my students have never read comics or don’t know anything more than newspaper comic strips, if that. There’s another course that is taught here every other year, The American Graphic Novel. It is co-taught by one of our tenured faculty, Jeremy Dauber with Paul Levitz, the former president of D.C. Comics. That course gets huge enrollment from all the undergraduate schools and from some grad students. Jeremy and Paul go around on the first day of class and ask their students about their experience with comics. Maybe ten percent are dedicated comics fans. And, from that group, when asked what got them interested, they usually cite Batman: The Animated Series. I get a lot of students who tell me their gateway drug was Calvin and Hobbes. But I don’t get a lot of students who know the medium well and are reading longer more complex stories.

Let me see if I can get this question right. I’m wondering what you think makes for the ideal comics creator. I believe it is often a lone artist-writer.  However, even when you have a writer and artist collaborating, ideally you would have both of them equally immersed in the literary and visual arts. That leads me to the definition of an alternative comics creator. How would you define that role?

Well, that would be anyone who is not working in mainstream superhero stories. What a broad category that is: from Lynda Barry, to Derf, to Ronald Wimberly. The certain notion of mainstream being the Big Two (Marvel and D.C.) with maybe Dark Horse and Image, although those two have creator owned work, to call that the mainstream (doesn’t take into account) the dozens of  other publishers bringing out material, in addition to the Big Two.  Every year, I buy a lot more non-superhero material than superhero material and not because I’m discriminating against it but because there’s a lot of stuff out there from all sorts of publishers, not just dedicated comics publishers. You have traditional publishers like Random House, Simon & Schuster, and Viking. You have academic presses that are publishing graphic novels, not just scholarship on graphic novels. So, I think “alternative” is becoming less of a useful term. I just call everyone “comics creators.” I try not to put them in pigeon holes. You have people like Dean Haspiel who do superhero material and who do their own stuff. You’ve got Kelly Sue DeConnick, who does superhero stuff and her own stuff. Those categories aren’t as useful since the field has become so broad and diverse. They’re just creators.

I don’t mean to digress but I do think it’s a certain mindset. You get someone like a Dean Haspiel and the Big Two want that certain flavor, a very specific way of seeing that comes from an indie cartoonist, that certain way of creating comics that comes from an alternative comics world. Then you consider that MoCCA, and other comics art festivals, are focusing only on alt-comics. 

I agree.

While something like Comic Con in San Diego is primarily about big money, the Big Two, and Hollywood.

But Comic Con in San Diego has a huge small press presence.

That’s true, they’re able to embrace everything.

You take a look at their Eisner Awards and they’re dominated by so-called “alternative” creators. But, take a look at Paul Levitz, “Mr. D.C. Comics,” who has written two graphic novels for Dark Horse and he’s working with two other smaller publishers…and it’s creator-owned stuff. Sonny Liew, Paul’s collaborator on Doctor Fate, he does work for D.C. and he does his own stuff: The Art of Charlie Chan Hock Chye, which won three Eisners. I just think that the alt-comics distinction has gotten so blurry. I think it’s a good thing to have creators dip their toes in different areas.

Well, I love that there’s a lot of gray area.

Yes! I love gray!

What graphic novels are popping up on your radar right now?

That brings me to my summer course and its reading list. For starters, I have Scott McCloud’s Understanding Comics right along with How To Read Nancy. We begin with wordless comics: Peter Kuper’s Sticks and Stones; and Eric Drooker’s Flood! I really enjoyed reading Black as Fuck. They’ll be reading that along with Ms. Marvel. Junji Ito’s horror comics are just mind-blowing. Ito’s Cat Diary: Yon & Mu brings  takes his horror sensibility over to a story about his cats. Because I love European comics, I’m going to have them read (Dillies & Hautière’s) Abelard. There’s also Michael Kupperman’s All the Answers matched with David Mazzucchelli’s Asterios Polyp. I also have Fun Home and possibly My Favorite Thing is Monsters if we have time. We have Bad Girls by Alex De Campi and Victor Santos. There’s also My Friend Dammer and The Fifth Beatle. And I always end with Ronald Wimberly’s Prince of Cats. I try to get as many titles as I can in as many styles, genres and traditions. It can be disconcerting, if you’ve only read American comics to suddenly be reading manga so we go over how to read it and all the visual cues. Let’s see, what else am I reading. I just read David Small’s Home After Dark which I really loved. Black as Fuck, I think the art is beautiful. It’s a story about what the world would be like if only black people had super powers. In the past, we’ve read Onward Towards Our Noble Deaths by Shigeru Mizuki. Watchmen. Dark Knight. Those two because they’re been so influential. We’ve also read early Action Comics, Detective Comics, Wonder Woman, and Spider-Man. I kept coming back to Dark Knight because we’re so much living in Frank Miller’s world now where superheroes are concerned. But this year I’m going lighter as I focus on Doctor Fate and Ms. Marvel because I’m ready to get out of the dark.

Yeah, we’ve been in the dark for too long. It runs in cycles.

Nothing against it. The dark books are great to teach but it’s good to mix it up.

We’re in a golden age of acknowledgment of comics and graphic novels. Do you think we’ve reached the ideal level or is there still room to grow with more and more people aware of and talking about graphic novels? 

I think there’s still a lot of room to grow.  There was a tweet the other day about an elementary school teacher in Los Angeles who won’t allow graphic novels in his classroom which led one of his students to bring in her own graphic novels to lend out to her classmates. It’s so strange to me that there are still educators who are resistant to graphic novels. Comics have won national book awards. What it is that still needs to happen for comics to be accepted as part of our cultural landscape I honestly don’t know. Four cartoonists have won MacArthur Genius Awards. What needs to still happen, I just don’t know. But there’s definitely room to grow to achieve as broad an acceptance for comics as there is for film, fiction, and any other other art form.

We will leave it there. Thank you so much, Karen.

You’re very welcome, Henry.

That concludes my interview. I want to thank Karen Green for taking the time and sharing her thoughts on graphic novels in general and in an academic setting. Thanks to Karen, she set things in motion and, with the help from like-minded souls, she continues the good work on behalf of comics, cartoons and graphic novels at Columbia University in the City of New York.

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Filed under Alt-Comics, Alternative Comics, Columbia University, Comics, Education, graphic novels, Karen Green, Libraries

Guest Review: ‘The Book of Weirdo’

The Book of Weirdo. Edited by Jon B. Cooke. San Francisco: Last Gasp Books, 2019. 288pp, $39.95.

An Ultimate Crumb or was it Editor Crumb?

Guest Review by Paul Buhle

There are many things strange, altogether strange, about this oversized volume. But they are things that Crumb-watchers and devotees of the short but tangled history of the Underground Comix will appreciate and even revere, if “revere”is an accurate and acceptable word.  The Book of Weirdo, published by Last Gasp Books, opens a door wide for rethinking comics and comix history.

The trajectory of the rise—but even more, the fall—of the wildly experimental genre continues to rouse debate, not to mention a lot of quiet grousing among former participants, artists, editors and publishers alike.  By 1973, when Underground Comix, had barely begun, a widespread legal assault on Head Shops threatened to eliminate the customer base. Censorship somehow avoided, comix moved on to the next obstacles that may best be seen as inscribed in the historical moment.

The great social changes hoped for by the young generation did not take place and were not going to take place in the short run, at least. The comic artists, very much part of their time,  joints to long hair, inevitably felt the effects. Working for practically nothing, although owning their own art, many began to wonder whether comix were a career or a dead end. Could the comix movement transform itself into a viable living?

Denis Kitchen had one idea, taking the commercial route with Marvel as publisher of Comix Book, which both paid artists better  but also owned what they drew for that issue of the magazine. A sell out or a practical step toward stability? The question went unanswered because the project folded after 5 issues, unable to achieve stability in the mainstream newsstand market. Bill Griffith and Art Spiegelman had a different and more traditionally aesthetic notion, a quarterly Arcade magazine published by Print Mint. A truly beautiful magazine, perhaps the best that the genre ever produced, it also failed, in a counter-culture market where readers were not accustomed to comix appearing on a punctual quarterly schedule rather than the more customary sporadic, lackadaisical pace.

 

What dramatic step might be next? That was the burning question for many artists and would-be editors, as the movement began to lose its momentum. But it was not the only thought, especially for many who simply continued under deteriorating circumstances.  The otherwise persuasive argument offered by Patrick Rosenkranz that Underground Comix was doomed as a genre by 1975, may be true, but it also minimizes the reality that much high quality work appeared during the later half of the 1970s and well into the 1980s.

The series of Anarchy Comix, also  Wimmen’s Comix and some dozens new entries of various kinds, lay ahead.  Kitchen actually expanded his line of comics with Kitchen Sink, relocated to Princeton, Wisconsin, and among his titles, Gay Comix is a particular stand-out in anyone’s memory of the field changing and growing in content even as it shrunk in size. It was, indeed, shifting toward the more uncertain market of the ill-defined “Alternative Comics.”  Also consider that the “classic” strips of the 1920s and 1930s, reprinted in Arcade foreshadowed Kitchen’s own reprinting of past masterworks by Will Eisner, Harvey Kurtzman and others. Not to mention The Comics Journal, soon emerging as something like the trade publication of the field.

RAW and Weirdo would serve as markers in any narrative of an evolving comic art in the US, en route to the recognition of comics as art, the museum exhibits, award ceremonies, and even the Superhero-swollen ComiCons to follow.

It would be a mistake to avoid entirely what the historians used to call “geographical determinism.”  Comics, comic books, had always been centered in Greater New York, never mind some printing locations as far as Racine, Wisconsin. Underground Comix emanated from the Bay Area and had the region’s sensibility stamped upon them, never mind some smaller regional operations. Giving up on Arcade, Art Spiegelman moved Back East. RAW  not only emanated from New York but pointed back to New York, in the old literary adage that, culturally speaking, North America is half in the sunshine and half in the shade….that is, everywhere west of the Hudson River.

Much to the credit of co-editor Francois Mouly, RAW encompassed global comic trends, but not only that. Ben Katchor, one of the freshest of the new artists to appear in these pages—himself from a Left Yiddish family background—was to comment later that RAW had shrewdly marketed itself as a lost branch of European art and literature. This would prove decisive in uplifting the genre toward acceptance as an art form, in New York above all.

By vivid contrast. Weirdo was very, very California, published by the Crumbs in Winters, an extended outpost of the Bay Area. The idea of the “outsider,” if already well established in the art world, here unapologetically reached an extreme.

The Book of Weirdo  testifies to the vanishing California sensibility as it pays homage to  that unique publication in a nonacademic and unpretentious manner that often eludes the burgeoning field of comic art studies at large. Jon B. Cooke is at once a comic fan, editor of an ongoing comics “pro” fanzine (Comic Book Creator), and a gifted writer and designer. He follows, in this work, the tradition of a couple dozen authors,  also non-academics in background, who have done admirable work on such subjects as EC Comics and their great artists or writer-artists as Wally Wood,Will Elder and Bernard Krigstein.

That said, The Book of Weirdo is a most unusual work of devotion. Rather than a straightforward narration, it offers extended commentaries by dozens of Weirdo contributors, and several essays—the longest of them unsigned but evidently the work of the editor himself.  This is, by intent, a collective project, with Cooke seeking to impose a light hand even if the creation owes to his extraordinarily careful attention to all aspects of the subject.

How much was Weirdo a response to the publication (and phenomenon) of RAW, moving comic art “uptown” toward new and for many, uncomfortable realms of sophistication? This is a question unsettled, destined to be unsettled, among comics historians, not to mention the editors and artists themselves.

What else was weird about Weirdo?  As Crumb himself wrote in the first issue, the new effort marked “another new magazine, another MAD imitation, another small time commercial feature with high hopes, obviously doomed to fail.” This is a reference to the number of MAD knock-offs that appeared during the 1950s and 1960s, in some cases lasting decades after Mad Comics turned into Mad Magazine in 1955.  Several of them even boasted former Mad artists. They were generally, if not without exceptions, dreadful by any reasonable standard, or perhaps just by the high standard of Mad.

From another angle, Weirdo was arguably closer to Humbug,  Kurtzman’s third effort after Mad and the slick but doomed Trump,  or his last magazine effort, HELP! Humbug and HELP! sought to combine comic pages with fiction, new art by youngsters—including, in HELP!, some of the soon outstanding u.g. comix artists. In the same magazine, “fumetti” or photo-caption combinations appeared, although in Weirdo’s fumettis, Crumb casted himself in the remake of the girlie magazines of the 1930s-40s with humorous shenanigans of dames and the men chasing them. What did this add up to?

Crumb had remarked (to me, in a 1977 interview in Cultural Correspondence) that “artists are always trying to equal the work that impressed them in their childhood and youth. I still feel extremely inadequate when I look at the old Mad comics….”  Adding, “there’s a charm in the ‘looseness’ of the culture of our generation, the lackadaisical approach…besides, our parents threw all the old traditions in the garbage can without a second thought and left us to root around for the remnants in the back alleys of the culture….”

That nicely sums up the aim, several years in advance, of the new venture. Even when the artists in RAW seemed to be slumming, or portrayed subjects in assorted outrageous ways, they were still….sophisticated. RAW could not be as raw as Weirdo was, even if it tried.

And there’s more. Recently, one of the most outstanding and cerebral artists—she now teaches at the University of Michigan—observed that the Weirdo artists and editors “were my tribe.”  Phoebe Gloekner’s comment makes sense in several different ways. Her work was exceptionally dark, with stories rooted in San Francisco’s post hippie cultural underground of drugs and male predation upon young girls, also of the rage felt by those who did not become part of the city’s notorious Good Life. Along with Dori Sedi, who died at an early age from a lung aliment while contributing steadily to Weirdo, Gloeckner may express best, in her comics there, the anxieties that suffused the magazine’s pages.

The stories of the artists, many of them hardly seen before or after Weirdo, are revealing, touching and plain strange, and in a way, the best argument for  the originality of the Book of Weirdo. Most were young or youngish, a large handful making their entry into the world of comics or moving further along the way. The list is an honor roll:  Peter Bagge, Lynda Barry, Charles Burns, Robert Armstong, Terry Boyce, Daniel Clowes, Julie Docet, Drew Friedman, Carol Lay, Steve Lafler, Joe Matt, Gary Panter, Joe Sacco, Carol Tyler, Jim Woodring and Ivan Brunetti, and those are only the artists whose names I recognize!

But it is the occasional anecdote that stands out, for this reviewer. For instance:  at one point, Harvey Pekar and Aline Kominsky-Crumb received  a curious offer to take over a talk-show slot at Fox’s entertainment network!  The whole thing was impossible: Pekar could no more quit his hospital job for a Manhattan gig that could be cancelled at any time than Aline could split her time between New York and Winters. Still, this small non-event points toward an outsiderness that might come inside. (Pekar himself was treated to the award-winning biopic, American Splendor, whose production in Cleveland really did force him to quit his job.) It came inside or rather, comics themselves came inside, with the Pulitzer Prize (and MOMA exhibit) for Art Spiegelman, with glowing if only occasional New York Times reviews for the likes of Alison Bechdel’s Fun Home, and arguably with the success of superhero characters on the big screens. Comics had become a twenty-first century art form.

Readers of The Book of Weirdo will  surely want to discover their own favorite anecdotes, make their own sense of the barrage of details included here. I’m guessing they will be happy to do so.

Paul Buhle has edited more than a dozen nonfiction historical comics. He struggles to understand the 36 year gap between his first effort (Radical America Komiks, 1969, reprinted in 2019) and next (WOBBLIES!, 2005).

Special thanks to Jay Kinney and Ben Katchor for comments on this review.

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Filed under Comics, Denis Kitchen, Guest Column, Last Gasp, Last Gasp Books, Paul Buhle, Robert Crumb, Weirdo magazine

Review: ‘Herbert Marcuse, Philosopher of Utopia: A Graphic Biography’

All too often, we are susceptible to allowing ourselves to be cogs in a machine. The ever-expanding technological age has no mercy. It is up to the individual to avoid becoming one dimensional. These are ideas that we don’t necessarily think about enough while, at the same time, we find ourselves confronting them on a daily basis. If you’ve fancied becoming more in tune with philosophical discourse, and would really appreciate a way in that is highly relevant and accessible, then turn your attention to the new graphic novel, Herbert Marcuse, Philosopher of Utopia: A Graphic Biography, by author/illustrator, Nick Thorkelson, published by City Lights.

The Swine of 117th Street

There have been a number of comics adaptations of subjects that would seem not to lend themselves to being broken down into the comics medium. However, the truth is that comics is uniquely equipped to take the complex and make it concise. In this case, Nick Thorkelson has crafted quite an engaging book based on the life and work of one of the great philosophers of the modern era, Herbert Marcuse. It is Marcuse who serves as a vehicle to hang a number of challenging and eternal questions dating back to Aristotle: What is our role in life? What are our expectations in life? What makes up a good and purposeful life? And once the questions are asked, who has the answers? Descartes? Marx? Heidegger? Marcuse?

The Reluctant Guru

We follow the young Marcuse as he goes from fighting in the First World War to finding his way among German intellectuals to developing his own philosophy with the help of mentors like Martin Heidegger. But, after Heidegger swears his allegiance to the Nazi Party, Marcuse moves on and, in 1933, finds his way to Columbia University in New York City. The Social Democratic Party, once the hope of a new Germany, had been forced aside by the Nazis Party which had made numerous false promises and had pushed its way into power. Fast forward to the present, we may ask ourselves: Are we headed into a similar abyss? Have we already entered a dark period with some parallels to Nazi Germany? In a very even-tempered way, Mr. Thorkelson is clearly suggesting that, yes, a cycle is repeating itself. But hope is not lost. A way out can be found in the soul-searching work of Herbert Marcuse. Basically, it is up to the individual to demand a better life. And, by and by, Herbert Marcuse found himself in the thick of the fight right alongside the student protests of the sixties.

History has a way of repeating itself.

Over time, Herbert Marcuse established himself as a leading voice within philosophical and activist circles. That voice can still be heard today and must be heard today. With a sense of great timing, Nick Thorkelson brings to the reader an essential and inspiring guide to one of our great thinkers. On each page, from one panel to the next, Mr. Thorkelson has condensed various bits of information into a seamless presentation that is easy on the eyes, both engaging and highly informative. The whole book is a delight as it is clearly organized and designed with a keen sense of style. Thorkelson’s cartoons are highly sophisticated and such a pleasure to behold in their own right. You can say that the artwork expresses the Marcuse joie de vivre quite fittingly.

Step by Step

Herbert Marcuse, Philosopher of Utopia is a 128-page trade paperback in duotone, available now, published by City Lights.

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Filed under City Lights Publishers, Columbia University, Comics, Graphic Novel Reviews, graphic novels, Herbert Marcuse, Nick Thorkelson, philosophy, politics

ECCC 2019 Interview: Tricia Levenseller, Alexandra Christo and Monsters & Sirens Tour

Tricia Levenseller and Alexandra Christo

Fierce Reads

Here are two wonderful writers for young adults from Macmillan’s imprint, Feiwel & Friends, and the Fierce Reads celebration of YA reading. Alexandra Christo, author of To Kill a Kingdom, and Tricia Levenseller, author of Daughter of the Pirate King and Warrior of the Wild, have hit the road together on the Monsters & Sirens Tour. It’s an even bigger deal for Alexandra Christo since she’s come ALL THE WAY from the UK to team up with Tricia Levenseller for this 6-stop tour. I was able to catch with both of these authors during their Seattle stop for Emerald City Comic Con. View the interview by just clicking the link below:

Both authors provide exciting novels which each feature main characters on a quest. And not just any ole quest, each of these adventures could mean life or death. Below I provide a synopsis for both books:

WARRIOR OF THE WILD by Tricia Levenseller

As her father’s chosen heir, eighteen-year-old Rasmira has trained her whole life to become a warrior and lead her village. But when her coming-of-age trial is sabotaged and she fails the test, her father banishes her to the monster-filled wilderness with an impossible quest: To win back her honor, she must kill the oppressive god who claims tribute from the villages each year or die trying.

TO KILL A KINGDOM by Alexandra Christo

Princess Lira is siren royalty and the most lethal of them all. With the hearts of seventeen princes in her collection, she is revered across the sea. Until a twist of fate forces her to kill one of her own. To punish her daughter, the Sea Queen transforms Lira into the one thing they loathe most—a human. Robbed of her song, Lira has until the winter solstice to deliver Prince Elian’s heart to the Sea Queen or remain a human forever.

Sunday, March 17: Emerald City Comic Con (Seattle, WA)
Monday, March 18: Interabang (Dallas, TX)
Tuesday, March 19: Main Street Books (St. Charles, MO)
Wednesday, March 20: Red Balloon Bookshop (St. Paul, MN)
Thursday, March 21: Boswell Books (Milwaukee, WI)
Friday, March 22: C2E2 (Chicago, IL)

Warrior of the Wild is a 336-page hardcover (ages 13-18), published by Macmillan. For more details and how to purchase go right here.

To Kill a Kingdom is a 352-page hardcover (ages 13-18), published by Macmillan. For more details and how to purchase go right here.

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Filed under Books, Booksellers, Bookstores, ECCC, ECCC 2019, Emerald City Comic Con, Feiwel & Friends, Fierce Reads, writers, writing, Young Adult

Interview: Brian Fies Talks About A FIRE STORY

Brian Fies

Early in the morning on Monday, October 9, 2017, wildfires burned through Northern California, resulting in 44 fatalities. Brian Fies’s book, A Fire Story (Abrams ComicArts), is his honest, unflinching depiction of his personal experiences, including losing his house and every possession he and his wife Karen could not fit into the back of their car. In the days that followed, as the fires continued to burn through the area, he posted an  initial version of A Fire Story online and it immediately went viral. The video segment KQED produced about his comic went on to win a Northern California Area Emmy Award. He has expanded his original webcomic into a full length graphic novel that goes deeper into environmental insights and the fire stories of his neighbors and others in his community. A Fire Story is an honest account of the wildfires that left homes destroyed, families broken, and a community determined to rebuild.

A Fire Story Book Tour

I was able to catch up with Brian Fies at his reading at Elliott Bay Book Company in Seattle, part of his book tour. This interview is the result of a subsequent email exchange.

Brian, thanks for doing this interview. You have built a very interesting portfolio of comics and graphic novels. You’re searching for answers and you’re compelled to express yourself through comics in order to explain big themes whether it’s history and technology (Whatever Happened to the World of Tomorrow) or personal challenges (Mom’s Cancer). When you were creating that webcomic about your first impressions of the Northern California fires, did you already intuit the making of your next graphic novel?

Thanks for your gracious thoughts on my work, I appreciate it! I can’t claim any grand strategy—as my wife Karen and I fled our house that night, I wasn’t thinking, “Ah ha, I’ve found my next book!”—but I knew I was an eyewitness to an extraordinary event and felt like I had to tell people about it. To bear witness. My first job out of college was as a newspaper reporter, and I felt that journalism gene kick into gear. Even as I walked back into my neighborhood the next morning to see what had happened to my house, before I even knew it was gone, I was taking photos and making mental notes that I knew I’d need later. The next day, I bought shoes and art supplies, and started writing and drawing.

As I worked on the webcomic, I was certainly aware it might become my next graphic novel. I’d been down a similar path with Mom’s Cancer: live through something terrible, find something interesting to say about it, put it online because that was fast and cheap, and see if anybody cared enough to read it. If nobody had read either webcomic, that would have been the end of both of them, and I would have been satisfied with that. I got my story out into the world; what the world did with it was out of my hands. In the case of A Fire Story, within a few days it went viral. Around 700,000 people read the webcomic on my blog. News and other media picked it up. San Francisco PBS station KQED made it into an animated short-film that was seen by 3 million people and won an Emmy Award. None of that was guaranteed or planned, but when it happens, the odds are good it’ll be a book if you want it to be. I thought about it and decided I was up for it.

Keep in mind, the whole time this was not the most important thing going on in my life! My family lost our home. Our neighborhood of about 200 houses looked like a nuclear bomb had hit it. People died. Thousands in our community were suddenly homeless and jobless, and we had no idea what to do. We had to figure out a lot, fast. My little comic strip, and the hullabaloo that soon came with it, wasn’t top priority. We were busy.

Page from A Fire Story

Share with us what sort of person becomes a cartoonist. I think everyone can potentially draw and write but there’s a certain personality that remains persistent and follows through with work year after year. I think it’s a combination of passions: a desire to report, to draw, and even perform. What do you think of that, and how it ties in with your new book, A FIRE STORY? Heck, I’ll also throw in: Did you always want to be a cartoonist and was it just a matter of time?

There may be as many motives for cartooning as there are cartoonists. I loved making comics from childhood. As a teen and early adult I tried very hard to make a living at it—which at the time meant becoming a syndicated newspaper cartoonist or drawing comic books. I got some nibbles but, like most people in most creative arts, I failed. I went on to have a family and a couple of different careers I enjoyed, but always kept cartooning. I sold some freelance work. I illustrated a light bulb catalog once; they come in an amazing variety of shapes and sizes. But my real career in comics didn’t begin until my mother was diagnosed with metastatic lung cancer and I decided the comics medium was the best way to tell our family’s story. In that sense, maybe it was just a matter of time. When the opportunity came, I had sufficient skills to do it.

Page from A Fire Story

Most cartoonists I know are shy. More introverted than not, though I know some on the other end of the spectrum who are hyper-outgoing. I think one of the attractions of cartooning, certainly for me, is that one person can do it all themselves. It’s not collaborative, like animation or filmmaking usually are. I’m the god of the little world I create on the page. Even my handwriting communicates a mood or feeling. For better or worse, and sometimes it goes really wrong, you’re getting one person’s singular creative vision. It also has incredibly low barriers to entry. For the price of paper and a pen, you too can be a professional cartoonist!

It took me an embarrassingly long time to figure out that cartooning doesn’t strictly require being a good artist. I mean, it helps, but making pretty drawings is one of the least important parts of it. Comics are about storytelling. Not making one breathtaking picture, but making a dozen, a hundred, a thousand pictures that move through time and space, and guide a reader through ideas, characters, plot, and emotions. A comic drawn in stick figures could make you weep or cheer if its storytelling were compelling enough. That said, the better an artist you are, the more tools you’ll have in your storytelling tool box.

The other thing I’ve come to believe is super important is authenticity. Readers can tell when you’re faking it or jerking them around. If you tell a story from the heart—one that really means something to you, one that only you can tell because your entire life went into making it—somebody will respond. A comic about a routine planet-devouring laser-mounted space dragon, or a group of wizards and goblins who bumble through Lord of the Rings-like adventures, will probably bore me. Anybody could do that. But if your true passion in life is collecting bottle caps, and you can draw a comic about bottle caps that makes me care about them as much as you do, I’ll be your fan for life.

Page from A Fire Story

There’s a wonderful nugget you brought up during your reading about kids from families that survived the fires in Nothern California. You point out that in your webcomic you have children requesting bedtime “fire stories.” What a great way to come around to the title of your book. I’m assuming that’s where the title comes from. Any story behind it—or was that title a natural fit and you ran with it?

Yeah, that nugget came from some people I know who lost their home, and whose grandchildren insisted on reading A Fire Story every night for weeks because that’s how they understood and processed what had happened to Grandma and Grandpa’s house. And Grandma would even read the naughty words because, while kids shouldn’t say those words, sometimes they’re the right words to say.

I gave the title much less thought than you’d expect. Again, Mom’s Cancer was instructive for me. It’s simple, direct, memorable, tells you what the story’s going to be about. Same with A Fire Story: it does what it says on the label.

A Fire Story by Brian Fies

You have said that this graphic novel has changed you. You’ve got a different perspective. For now, of course, it’s a time of healing and rebuilding. My heart goes out to you. As you did in your reading, I think the best place to end here is with that one page that sums things up so well where it’s you and Karen simply wanting to go home. It’s also a time to get the word out on A FIRE STORY. That said, this is a long way around to simply asking what do you hope folks will get out of your book?

Thanks so much. As I describe in the book’s end notes, I’ve gotten two kinds of feedback to the webcomic and graphic novel that mean the most to me. People who went through it with us tell me I got it right. And people who didn’t go through it tell me it helped them understand what it was like.

I hope A Fire Story stands as a work of respectable, responsible journalism that gives a full picture of what living through a disaster is like for an individual, a family, a community. It doesn’t have to be a fire. I think a hurricane survivor and I would have a lot to talk about. In an even larger sense, I think A Fire Story has something to say about any family or community in any type of crisis. These experiences and our reactions to them are nearly universal. We all have more in common than we think. So A Fire Story is my story, but I hope folks might see that it’s their story, too.

Page from A Fire Story

A Fire Story is a 154-page hardcover, in full color available as of March 5th. For more details and how to purchase, visit Abrams ComicArts.

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Review: A FIRE STORY by Brian Fies 

Many of you may recall a webcomic recounting the horrible 2017 wildfires through Northern California. Except for a smattering of bare essentials, cartoonist Brian Fies and his wife, Karen, lost everything in the fires. Mr. Fies chose to set his recollections down as soon as possible and posted them as a webcomic. His on-the-spot reportage struck a chord and it led San Francisco PBS TV station KQED to adapt A Fire Story into a five-minute animation, which was subsequently picked up by NPR. That animation went on to win an Emmy Award in 2018. Now, in 2019, that 18-page webcomic has been refined and transformed into a 154-page full color graphic novel, published by Abrams ComicArts, that includes an entire community of people.

Graphic novels, I can tell you from firsthand experience, are a glorious beast to tame with their myriad of details to tackle. So, it is quite remarkable and commendable that Fies stuck it out and built a full length graphic novel upon a small scale webcomic. The reader will immediately sense the urgency of a determined storyteller within these pages. Fies is not only telling his story but involving thousands upon thousands of individuals affected by this disaster. In honest words and pictures, Fies shares his loss: “I used to have five redwood trees in my front yard. I saw a refrigerator and the rough shape of a car I used to have in my garage. I didn’t recognize anything else. A two-story house full of our lives was a two-foot  heap of dead, smoking ash.” And Fies shares the loss of others, like Dottie, an 81-year-old woman displaced from her mobile home: “My niece called me. She said, ‘Auntie, if you’re on any kind of medication, grab your medications and come up to my house.’ She didn’t say ‘fire,’ she just said, ‘Get up to my house.’ I could tell by the tone of her voice to listen to her.”

Fie’s artwork has a nice clean, crisp and spare quality to it which lines up well with the urgency of the narrative. Fies still prefers to draw by hand and that added human touch is apparent. The same can be said for the coloring, direct and resourceful with just the right amount of flourish. In fact, the coloring might be made with markers, or at least it has that look to it. So, you get the best of both worlds: hand-drawn ink on paper artwork married to digital components. When Fies chose to document this disaster in real time, he managed to cobble together a purchase of some basic art supplies and it worked out just fine. Someone told him that he must have been compelled to “bear witness” and that is exactly what Fies did in the best way he could, through comics. That need to bear witness is palpable on every page.

A Fire Story is a 154-page hardcover, in full color available as of March 5th. For more details and how to purchase, visit Abrams ComicArts.

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Filed under Abrams ComicArts, Brian Fies, Comics, Graphic Novel Reviews, graphic novels, Journalism

Book Review: IT OCCURS TO ME THAT I AM AMERICA: NEW STORIES AND ART

It Occurs to Me That I Am America: New Stories and Art

What does it mean to be American in these strange times we live in? We have someone in power who behaves like a self-serving gremlin, determined to dismantle and foment unrest, boasting a horribly inarticulate screed. Here is a collection from some of the most respected names in the arts that acts as an answer to what it is to be American. It is entitled, It Occurs to Me That I Am America: New Stories and Art, published by Touchstone, an imprint of Simon & Schuster. This title came out in 2018 and it deserves to be on everyone’s radar in 2019 and for years to come.

Vote Hillary by Deborah Kass

Sometimes, perhaps too often, we get such a gem of a book that deserves a whole new shout out. Let me run through for you what makes this one special. Gathered within 375 pages are works by talented artists and writers all tackling a common theme in refreshingly unexpected ways. The book is edited by celebrated artist and novelist Jonathan Santlofer, with an introduction by Pulitzer Prize winning novelist Viet Thanh Nguyen. The roster of creators runs the gamut from exciting new talent to established legends. Each piece is a highly original voice. You’ll find, for instance, Hate for Sale, by Neil Gaiman, a poem tailor-made for today and yet unnervingly timeless. Or how about Joyce Carol Oates, “Good News!”a cautionary tale that nicely channels Ray Bradbury.

Little House on the Prairie Holding Company LLC by David Storey

Among visual art, one that immediately strikes just the right defiant tone is Vote Hillary, by Deborah Kass, a screen print channeling Andy Warhol with Trump replacing Nixon as the subject. Another compelling piece is The Ugliest American Alphabet, by Eric Orner, where he recounts all that is dismaying about Trump using every letter of the alphabet. Some other thoughtful work in comics comes from Roz Chast with Politics; and from Mimi Pond with Your Sacred American Rights Bingo. And one of the most beguiling works in comics in this book is a tryptic by Art Spiegelman. To be sure, all the work here is not espousing one particular point of view. You’ll find a bit of everything when it comes to articulating all things American. It’s not as easy as simply pointing fingers. It’s complicated, right? All in all, you have 52 distinctive voices here sharing with you just how complicated it all is in the best spirit of vigorous critical inquiry.

Your Sacred American Rights Bingo by Mimi Pond

I will finish up here by taking a closer look at the piece by Alice Walker, Don’t Despair. It is one of the shortest works and comes towards the end of this collection. She recounts how growing up in rural Georgia, all white men seemed to be like Donald Trump, petty and hateful. She looks back and wonders how she survived those times. Part of the answer is that Walker comes from a long line of ancestors who chose to live or die on their feet. Her family would survive, even proper, in the tiniest of spaces allowed to them by white people. Fast forward to today, Walker asks Is living under a dictatorship all that of a surprise? Her solution: Study hard! Study who you’re really voting for! And don’t rely on just voting for someone! “It is our ignorance that keeps us hoping somebody we elect will do all the work while we drive off to the mall.” Walker isn’t just offering hope. As she puts it, she’s offering counsel. Real change is personal and involves relating with each other. It is a time for an awakening and the choice is ours.

The Ugliest American Alphabet, by Eric Orner

It Occurs to Me That I Am America: New Stories and Art is a 375-page hardcover, with black & white and color images, published by Touchstone, an imprint of Simon & Schuster.

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Filed under Anthologies, Art, Art books, Art Spiegelman, Artists, Book Reviews, Books, Comics, Eric Orner, Fiction, Jonathan Santlofer, Mimi Pond, Protest, writers, writing

Review: ‘Nobody’s Fool: The Life and Times of Schlitzie the Pinhead’ by Bill Griffith

Friendly Freaks are Family.

Every art form has its dark, morose, and melancholic aspect. Comics, despite the ingrained comedy in its very name, is a truly dark art much of the time. And we wouldn’t have it any other way. What can you say when you’re feelin’ glum, chum? See ya in the funny papers! One of the best examples of the tragicomic in comics can be found in the work of legendary cartoonist Bill Griffith. Considering a lot of the surreal and loopy stuff that Griffith has depicted over the years, he always manages to not lay it on too thick, finding just the right balance. He is certainly just the right artist to tackle the life and times of one of the strangest and most celebrated of weary souls, Schlitzie the Pinhead. In Nobody’s Fool, published by Abrams, Mr. Griffith has achieved a crowning achievement in the comics medium.

Nobody’s Fool: The Life and Times of Schlitzie the Pinhead

There’s a unique experience that creators have, particularly writers of one form or another, that provides the loopy sensation of having your creation come to life. Yes, there’s is definitely something behind the idea of having your characters take on lives of their own. This notion comes to mind when contemplating Mr. Griffith’s journey with the inspiration for his legendary comic strip, the cool and sardonic Zippy The Pinhead. Where Zippy, the weirdo in a mumu, will forever be the epitome of deadpan irony, the actual source for Zippy is quite a different story. Schlitzie the Pinhead was quite literally a circus freak. In 1963, Griffith, a young struggling artist, caught a screening of the 1932 cult classic, Freaks, directed by Tod Browning, in which Schlitzie played a modest but memorable role. After viewing Schlitzie on screen, the imagery stuck in Griffith’s mind and quickly morphed into a comics avatar. All these years later, Griffith is able to reconcile the original Zippy with his own work and pay tribute to Schlitzie.

 

Zippy The Pinhead by Bill Griffith

 

The Many Names of Schlitzie The Pinhead

This is one of those remarkable graphic novels that truly takes your breathe away. It shares a space with the best that the comics medium has to offer. It’s a utterly original and distinctive work of art inextricably linked to one legendary talent. The detail and dedication involved to make this happen is comparable, say, to your favorite movie up for an Academy Award. Yes, it’s that big of a deal. The amounts of hours put in, all the little details, are staggering to think about. Griffith dug deep, doing his research and going back to interview as many individuals as he could find associated with the celebrated circus freak. And what did he find? Well, part of the charm of a book like this is simply the journey itself. Griffith is careful to modulate how much of himself he directly places into the narrative. But, in the end, he’s as much a key player as anyone else in the book. We find him connecting the dots along the way and, ultimately, we have a key sequence with him viewing and processing that infamous and misunderstood film, Freaks.

All it took was some red hots.

Griffith spares no expense, as it were, in fully depicting the life and times of Schlitzie the Pinhead. For a cartoonist who gave us, Zippy, an icon of irony, the irony must not be lost on Griffith for devoting so much time and effort to Schlitzie, a prime example of an utterly simple soul. When you dig deep into the life of Schlitzie, it breaks one’s heart to find such an overwhelming nothingness. Schlitize enjoyed, or tolerated, performing for big crowds. But, truth be told, he mostly enjoyed washing dishes and eating fried chicken. Ah, but in the hands of a masterful cartoonist, profound beauty can be found in the darkest of places.

Nobody’s Fool: The Life and Times of Schlitzie the Pinhead is a 256-page hardcover published by Abrams ComicArts, to be released March 19, 2019. For more details, visit Abrams right here.

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Filed under Bill Griffith, Comics, Comix, Underground Comics, Underground Comix, Zippy the Pinhead

Graphic Novel Review: WOOLMANCY by Abrian Curington

WOOLMANCY by Abrian Curington

Abrian Curington has created Woolmancy, a fascinating graphic novel set in another time, place, and world. This is quite a fun work of fantasy. It’s a place of magic, dragons, and kind-hearted people busily creating wondrous items. The main focus is textiles. And the main raw material is wool. Our story takes place in the village of Kanvala. Two promising young weavers have been left in charge of the guild when the master must leave on urgent business. Reminiscent of The Sorcerer’s Apprentice, Mirin and Satski are loaded down with formidable responsibility and must rise to the challenges up ahead.

Ms. Curington is a very resourceful storyteller. She does a wonderful job of sustaining the narrative pace. And her artwork is very enchanting. The character development is spot on. The reader gets to know the main characters well and wants to root for them. Mirin can be stubborn and leads the way. Satski can be cautious and loyal. Between the two of them, they must solve a mystery and save their village. All in all, it’s a great all-ages tale. It reminds me of some of the titles coming out of First Second, like Faith Erin Hicks’s Nameless City trilogy.

When it comes to spotting new talent, it’s important to set aside flashy trends and gimmickry. It’s important to appreciate and acknowledge integrity and originality. I see quality work here and I look forward to seeing more. Abrian Curington is leading the way with family-friendly comics. It is an exciting journey. Here’s a quote from her website:

I decided to just make simple, visual stories. I wanted everyone to be able to experience them, nothing you’d have to hide from little eyes. I wanted each story to take readers on an adventure that lifts them out of their tired, stressed states. Or to add to the joy they’re already experiencing!

For more details, visit Blue Cat Co. right here.

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Filed under Abrian Curington, All-Ages, Comics, Family, Graphic Novel Reviews, graphic novels

Book Review: ‘Hi Jax & Hi Jinx: Life’s a Pitch – and Then You Live Forever’ by Dame Darcy

Hi Jax & Hi Jinx: Life’s a Pitch – and Then You Live Forever by Dame Darcy

Dame Darcy is a notable alternative cartoonist who burst upon the scene in the 1990s with her series Meat Cake which was published by Fantagraphics Books from 1993–2008. Her unique “Neo-Victorian” style can also be found in her other roles as fine artist, musician, cabaret performer, and animator/filmmaker. In 2016, Fantagraphics Books issued the omnibus, Meat Cake Bible. Now comes a comprehensive look at the life, work and recollections of Dame Darcy, Hi Jax & Hi Jinx: Life’s a Pitch – and Then You Live Forever, published by Feral House. This is a unconventional memoir befitting such an unconventional figure. For starters, Darcy’s family has theories regarding her great-great-great-uncle John Wilkes Booth. According to Darcy, Booth was a victim of mind control when he assassinated President Abraham Lincoln. Not only that, Booth was scurried away after the murder and lived in hiding all thanks to the Illuminati. With that sort of family lore, Darcy has had plenty to tap into in service of her art.

A recurring theme in Darcy’s family is drama and fantasy. Many in her family have performed on stage. It’s that desire to break free from predictable reality that is the driving force behind Darcy, in her life and in her work. The need to escape and create other worlds found itself into little poems, stories, and comics. For example, one such story in this book finds an 11-year-old Darcy exploring the family farm which becomes her own little kingdom. She slips up a trapdoor to the hayloft. With the help from a friend, the hayloft is converted into an art studio. But that’s only the beginning. She discovers a hidden drawer in an old trunk and finds a turquoise necklace. She also finds a note from a little girl who is being held captive by a cult. Then she hears laughter and looks out the window to see a mysterious girl wearing the same necklace as Darcy. The girl keeps staring. Then she smiles but she has no teeth. Suddenly, she does a backflip and disappears. And there you have a taste of a Dame Darcy experience.

Fairy tales are common to all of us and make for a perfect jumping off point to other flights of fancy. Darcy revels in all the fanciful tropes and mashes them up to reveal and confess to the reader and herself. A platform has been set up, made up of whimsy and autobiography, and from it Darcy has reached wondrous heights. With this collection of drawings, comics and observations, Darcy is able to use extended prose to fill in the blanks and bring all the various bits of background into focus. Oddly enough, all the added material, written out as it is, has its own ambiguous charm and doesn’t detract at all from the otherworldly mystery found in her comics. Darcy offers up here a most enchanting book.

Hi Jax & Hi Jinx: Life’s a Pitch – and Then You Live Forever is a 305-page trade paperback, with black & white illustrations, published by Feral House.

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