If you live in or plan to be around the New York metro area, then consider visiting the Scott Eder Gallery for an in depth look at a variety of notable underground cartoonists from the sixties. This includes a number of names that are common to the comics community along with a number that will be newly discovered gems for gallery visitors. The show is entitled, THE ALTERNATIVE UNDERGROUND: Foot Soldiers in the Revolution that Forever Changed Comics and runs from Feb 1 thru March 9, 2019. The opening reception is Friday, Feb. 1, 2019, 5-9 PM. Scott Eder Gallery is located at 888 Newark Avenue, #525, Jersey City, New Jersey in the Mana Contemporary Arts Complex. From New York City, you can easily reach it from the PATH train.
Mickey Rat Comix by Robert Armstrong
What If? by Joel Beck
Women at Work!!! by Daniel Clyne
Pro Junior by Dave Dozier
Smile by Jim Mitchell
Rev. Jeremiah Moses by Grass Green
Jesus Learns a Thing or Two by Frank Stack
Trina Robbins self-portrait
More details from Scott Eder Gallery:
When the Underground Comix movement is discussed, R. Crumb, Art Spiegelman, and Gilbert Shelton come quickly to mind. But the revolutionary break from mainstream comic books in the late ‘60s, leading to graphic novels and today’s vital independent scene, was comprised of numerous other artists. Many seldom get their due. Scott Eder Gallery is proud to present some of the largely unsung pioneers like Joel Beck and Frank Stack, both of whose comix significantly predated ZAP. Other featured artists are Bob Armstrong (Mickey Rat), Sharon Rudahl, (Wimmens Comix), Dan Clyne (Hungry Chuck Biscuits), Wendel Pugh (Googiewaumer), Mike Roberts (Bizarre Sex), and other foot soldiers active in the broad and groundbreaking underground comix scene. Discover or rediscover the idiosyncratic styles of more than twenty outspoken and bold cartoonists whose work remains surprising fresh a half century after the psychedelic fervor and anti-war chants swirling around their era have faded away.
Interview with gallery owner Scott Eder:
If you’re interested in comics or would like to take the opportunity to see firsthand some of the exciting trailblazing art that has influenced today’s boom in indie comics, then be sure to visit Scott Eder Gallery.
I’ve recently been taking a look at some work by artist/writer Ariel Schrag. I’m becoming more familiar with her comics and I decided to read her prose novel, Adam. While reading it, I also became aware of the controversy surrounding this novel which will debut in 2019 at Sundance. I’d just gotten a quarter of the way into the novel and wondered just where these snarky kids were heading. The book depicted the author’s take on callow youth and gay culture and so I pressed on. I do understand why some people will find the book problematic. Still, it’s useful to stick with it to the end to study one writer’s process.
I’ll cut to the chase and say that Ms. Schrag’s book aims to be in the tradition of provocative novels. The characters do and say a number of nasty and questionable things and then there are also moments when Schrag dials down the snark. Here is an example, a scene that finds the main characters at a predominantly transgender gathering:
“Clarification on gender was indeed necessary. Looking around at the group, it was as if a hatful of pronouns written on scraps of paper had been thrown into the air, each group, sometimes two, landing randomly on a person, regardless of what he or she looked like. Adam had gotten used to boyish girls turning out to be trans, the general rule that masculine = he and feminine = she, but here at Camp Trans it was a free-for-all. You couldn’t be sure of anything, except that you were most likely wrong.”
So, yeah, the book has a cocky snarky vibe, an attempt to channel the great Holden Caulfield tradition of snark. It’s when an ambitious young writer feels compelled to be provocative that things will heat up for sure. The big controversy revolves around the premise of the main character, Adam, a 17-year-old straight man becoming involved with Gillian, a 22-year-old gay woman, by both lying about his age and, far more significantly, lying that he’s a female-to-male trans person. That premise is rubbing a lot of people the wrong way. You have people in the trans community saying the book is exploitive. You have the author saying the book is meant to open up a discussion. Ms. Schrag has gained notoriety over the years for her memoir comics. She is an openly gay woman who has focused on young adult themes. She has written for television, including writing for Showtime’s The L Word.
The big point of contention against this novel comes down to the idea that the main character, Adam, is essentially getting away with rape as he’s in a sexual relationship through deception. For most of the novel, Adam isn’t getting away with much as he’s depicted as being fairly creepy. Towards the end that changes when Schrag drives her novel over a cliff with an abrupt shift. Adam begins his journey as a stand-in for just an average guy, yet another typical banal young person, while Schrag steadily turns up the heat. He easily falls into fantasy. He’s so selfish that, despite all the warning signs, he continues to deceive his lover in the hopes that his fantasy will come true and she will ultimately overlook his gross betrayal.
Looking at this from a creative point of view, it is very interesting to see a cartoonist like Schrag developing into a full-on prose writer. Any number of cartoonists find themselves juggling/struggling with two distinct disciplines (writing and drawing) that are supposed to meld into one (comics). Well, the comics-making process is a whole world onto itself with many potential variations, detours and pitfalls. It’s a delicate balancing act. And, if a creator favors writing a little more than drawing, that can tip the balance. For Ms. Schrag, it seems that more often than not, when she puts pen to paper, it is only words she seeks. Deep into making a novel all out of words, those words can take on a life of their own a little more easily than within the framework of a well planned out graphic novel with storyboards and various anchors. You choose your words that much more carefully when you create a graphic novel in comparison to commanding a ship of words in a novel. You set sail for vast ports unknown. You can lose yourself in your discourse and take your mighty vessel way off course.
You get away with less in comics. You can be instantly held accountable. Stuff can get buried in a prose novel. All those words! Ms. Schrag can engage in some anti-Semitic rhetoric and no one will call her on it since the focus is on her depiction of the trans community. Around the middle of the novel, Schrag builds up to what she deems a joke involving her inept and money-grubbing Jewish landlords. Analyzed as a joke, the mechanics and execution fall flat. It’s inappropriate and serves no purpose other than to underscore the fact that the characters are prone to being intolerant and hurtful and that has already been well established. It’s a joke that would make the legendary cartoonist provocateur Robert Crumb blush mostly because it’s so not funny. You just can’t get away with stuff like that in comics. In contrast to this novel, Ms. Schrag’s recent collection of comics, Part of It, indicates a more restrained, and even polite, approach.
Ms. Schrag has said about all the controversy attached to this novel: “People are really angry specifically about appropriating an oppressed identity. I just think that’s fascinating to think about because what is so terrible about appropriating an oppressed identity?” That’s a gutsy remark with consequences attached to it. Writers can choose to provoke but then it’s fair game to listen carefully to the response. Just because you belong to a group doesn’t mean you need to shake it to its core. But for those writers who can’t resist shaking things up, they will need to be open to criticism. In this case, there’s a movie version coming out and that will undoubtedly provide another opportunity for more discussion and more controversy.
Charles Forsman is a wonderful independent cartoonist. I have had the privilege to review his work. Mr. Forsman creates work that is usually intended for a relatively small audience. That is the nature of comics, especially niche comics. But things can get turned on their heads. Just imagine, a highly obscure copy of an underground comic is sitting in a trash bin when it’s picked up by a movie director and he’s so thrilled by it that he’s compelled to move heaven and earth to turn it into a hit television series. That’s what happened with Forsman’s The End of the F***kingWorld, now available on Netflix. And it’s happened again. This time without any trash bin. The news it out that Forsman’s I Am Not Okay With This is coming to Netflix.
‘I Am Not Okay With This’ by Charles Forsman
There’s something about the fresh and quirky goodness of independent alt-comics that can catapult them from obscurity to crazy full-on stardom. It won’t happen to most of the self-published comix out there but it happens. So, don’t try this at home unless this is a labor of love first and foremost. Otherwise, it won’t work. Painfully honest stories have a greater than average chance of getting attention. That’s part of it. The rest is just the right mix of hard work and a bit of good luck. While you wait to enjoy I Am Not Okay With This, check out The End of the F***king World now on Netflix:
I Am Not Okay With This follows the misadventures of Sydney, an unassuming 15-year-old freshman with telekinetic powers. Be sure to visit Charles Forsman right here. I Am Not Okay With This is a 160-page graphic novel published by Fantagraphics Books.
Here is a discussion of what makes for the best comics within the United States with Bill Kartalopoulos, the series editor of the prestigious annual collection, TheBest American Comics, published by Houghton Mifflin Harcourt. What does it take to be considered the best? Well, mind you, everyone has their own set of ideas but, essentially, it boils down to compelling work. One way or another, things add up. The work commands your attention and it checks off a number of boxes like being original, structurally sound, and maybe even groundbreaking.
One thing that makes this particular interview special is very good timing. I happen to have been in New York for a combination of business and pleasure. The latest collection of Best American Comics had just come out. In fact, I’d recently reviewed it here. So, one thing led to another. I asked Bill what he thought about getting together in person for an interview and so we did. For me, meeting Bill at Parsons The New School for Design was a nice treat. He teaches there on the subject of comics. Currently in his class, he’s covering Art Spiegelman’s landmark work, Maus. Bill was Associate Editor and Production Assistant on MetaMaus, Spiegelman’s 2011 book and multimedia DVD set examining the production of Maus.
Parsons The New School for Design
My goal in this interview was simply to have a pleasant, perhaps even lively, conversation. I am a fan of Best American Comics but I was setting that aside, so to speak, in order to go through a relatively objective set of questions. I wanted to dig around and see what we might uncover and Bill was certainly up for it. What I come away with is the fact that this annual best-of collection has gone through a rigorous process. First, we have Mr. Kartalopoulos dutifully gathering up around 120 or so works that he deems worthy. Then, he hands them off to the guest editor. This year, that honor goes to cartoonist Phoebe Gloeckner. Finally, a shaking and mixing and final rinse. The editor, after paring down the final cut of titles, may end up adding some of her own, and will ultimately preside over a presentation all her own. Okay, lots going on. So, here we discuss all that and more.
“Yazar and Arkadaş” by Lale Westvind
HENRY CHAMBERLAIN: Bill, I thought we could take as our jumping off point the last work in this year’s Best American Comics. This is by Lale Westvind. It is quite a surreal sci-fi tale entitled, “Yazar and Arkadaş.” I think it would be good fun to linger over this loopy and wonderful work, an ideal example of what comics are all about. It kicks off with an urgent search for a book and, along the way, the main characters are compelled to continue their journey naked. What can you tell us?
BILL KARTALOPOULOS: Lale Westvind did the cover for this year’s Best American Comics. This piece was one that she published during the twelve month cycle that we cover for each volume. Our excerpt doesn’t contain the story in full but it gives the reader a good sense of it. The original work was published on a risograph. We attempted to evoke that same look and feel, including the pink paper used in the original.
CHAMBERLAIN: That unique look that you get from a risograph is part of what defines independent comics.
KARTALOPOULOS: I think a lot of Lale’s work speaks to science fiction. Although a lot of her work is very different, it does bring to mind Jack Kirby and how he played with mythology with his New Gods. Something else that I think is really nice and speaks to the selection process is what happened when it came time for Phoebe to pick what to excerpt from Emil Ferris’s My Favorite Thing is Monsters. She chose a conversation that refers to Medusa. That moment would end up resonating at the end of the book, with the last work by Lale Westvind and her disembodied head of Medusa with the tendrils of hair acting as arms grabbing at things.
CHAMBERLAIN: It happens every year. I recall us talking about interconnections between the selected works during our phone interview a few years back.
KARTALOPOULOS: It’s not a heavy-handed thing.
CHAMBERLAIN: Oh, of course not.
KARTALOPOULOS: It’s something you can’t force. It’s natural and organic.
CHAMBERLAIN: I think of how iconic My Favorite Things is Monsters is for readers. To present it in this collection, the challenge was to find an interesting way to revisit. Maybe you could give us another look behind the scenes. What is the significance of having Gabrielle Bell’s piece as the opener?
KARTALOPOULOS: That’s an interesting question particularly with how it relates to the creation of this collection. Each new guest editor handles the job a bit differently. For example, Scott McCloud created categories and wrote short introductions for each. Jonatahn Lethem, the next year, aware of what McCloud had done, followed suit in his own idiosyncratic way.This year, with Phoebe Gloeckner, she decided to see what it might look like with alphabetizing the titles–which is exactly what she ended up doing for the book!
CHAMBERLAIN: You can’t be any more fair than having the book alphabetized! That’s a good tip for aspiring cartoonists. Get a pseudonym that places you towards the front. I’m looking at Tara Booth’s work now. It’s a very raw and powerful style. And then you’ve got, after that, the very lean and clean work of J. D. Bryant. Some of the elements in Tara’s work are very challenging for the viewer. While, with Bryant, it’s very cool and detached. Maybe we can do a bit of comparing and contrasting with these two.
D. J. Bryant
KARTALOPOULOS: Sure, these are two very different ways of working. I certainly hope that it demonstrates the wide variety of work on display in these pages. Tara Booth shares with the reader the more private aspects of life, things you wouldn’t typically share, like popping a zit. She works mostly, if not exclusively, in gouache for this piece. Bryant works in the tradition of alt-comics from the ’80s and ’90s. It’s a naturalistic style with pop appeal, very dense, with a surreal narrative that loops back on itself. The types of brushes and pens and inks he uses go back further to the ’30s and ’40s. Booth has a very different approach, wordless little moments. Both are extremely effective styles.
CHAMBERLAIN: It does take a lot for a major comic book publisher to appear in Best American Comics, doesn’t it? It happens from time to time. This year we have a piece by Geof Darrow that appeared in Dark Horse Comics. I understand why that is. A lot of the work is market-driven and would seem out of context in Best American Comics. That said, I see a lot of interesting work coming out of Image Comics, for example. Is it a case of stepping back from the major comic book publishers in order to secure room for the independent cartoonists?
KARTALOPOULOS: We don’t really think about the scale of the publisher necessarily. We’re just looking for good work, something that is unique that expresses a personal vision, not necessarily an autobiographical vision. Dark Horse does publish a good amount of creator-owned work. This piece by Geof Darrow is very much an auteurial work: it is his vision; he is doing the work just the way he sees it. This is a personal vision regardless of the means of production. It is a personal vision as much as the work just before it, a self-published piece by Max Clotfelter.
CHAMBERLAIN: I agree. This brings us back to our theme of different approaches. One piece is technically crisp and another is stripped down. I want to ask you to share with us something about your intimate connection with comics. I know you spend quite a lot time on comics in various ways. Would you give us a window into your day or whatever you might like to share.
KARTALOPOULOS: I teach at Parsons about comics so at least once a week I’m teaching. Then I’m either preparing for a class or grading papers. I just finished reading for Best American Comics 2019. Each book has a time lag. For example, the current volume covers work created from September 2016 to August 2017. It goes from Autumn to Autumn. Then it takes a full year to create a volume. I’m at a place right now where I’m about to hand off work to our next guest editor. At the same time, I’m working on a book on North American comics for Princeton University Press. It’s pretty far along but I still have a number of chapters to complete.
CHAMBERLAIN: How do you gauge the reception that the book gets. With each year, do you sense that you’ve got a locked-in audience?
KARTALOPOULOS: The print run is somewhere around 20,000 copies so that’s a lot of copies out in the world. One thing that I think is very helpful is that the series tends to fairly automatically enter libraries. I think this series has a pretty useful life as an entry point into comics for many readers. We put as much information as we can about the sources of each title. We have bios and websites. So, for example, if there’s a self-contained work among the selections, maybe readers will seek out that creator and read more. In this way, we can make a quite impact well beyond the initial release of a volume.
CHAMBERLAIN: You’re talking about a quiet impact. You’re not exactly thinking in terms of setting a standard–or maybe you are, to some degree?
KARTALOPOULOS: I think we’re seeking out good comics. I’m putting together a larger pool of material, over a hundred pieces, for the guest editor. I select work worth considering…really give the guest editor a lot of options. Really select pieces that are meaningful to them. I try to give them a broad palette. The guest editor is applying their own sense of critical judgement of what they consider a good comic. If you look at the series from multiple volumes, you’ll see a consistency, a pretty high level of quality.
A mark of success for the series is how each guest editor leaves their personal mark. This year’s volume, edited by Phoebe Gloeckner, feels different to me to the volume edited by Ben Katchor, which feels different to me to the volume edited by Roz Chast, and so on. There’s consistency, a high level of quality, and each guest editor brings in their own point of view.
CHAMBERLAIN: That’s a wonderful place to end. Thanks for your time, Bill.
KARTALOPOULOS: Thank you.
We had a really good, insightful, and fun conversation. You can listen to the interview by just clicking the video link below:
Oliver’s Upper Bar. Mayflower Park Hotel is gorgeous and charming!
I have much to say and little time. This is true in the big picture and in the current timeframe for all of us, right? Okay, right. Right on! So, let’s do here a recap of this whole 24-hour comics thing that I just did. I want to follow that up with a separate review of the wonderful place I stayed at, Mayflower Park Hotel. Then, full speed ahead with some full-on comics reviews including this year’s Best American Comics. Later on, I’ll have a surprise or two as the month unfolds and son on. Almighty then, first up, a movie that I put together: My 24-Hour Comics Stay: Mayflower Park Hotel in Seattle…
There’s a bunch of comics theory swimming in my head that I want to pour over into select spots such as this post. One thing: Comics are very weird and wonderful and, if you let process take over, you can achieve great things. I see comics in the same light as any serious fine art: there is room for the raw and the ragged, work that comes off as out of place; but, at the end of the day, it is up to the creator to suss out and to be honest. Does this work rise to the level of being “art,” if that is what you are seriously, and sincerely, aiming for? Some hipster sentiment might see things differently. Well, time will tell because sometimes it takes time for certain work to come into focus.
Emily, my sweet main character.
Drawing. Writing. Both are essential for the independent cartoonist who chooses to create a comic alone, as opposed to being part of a team. In the old tradition, the alt-comics creator is a lone wolf. Packing a bunch of lone wolves together can sometimes work but they then become a pack and that has its pluses and minuses. You can also just pack a whole room with people of varying degrees of talent or simply enthusiasm. That can be good. That’s what you usually call a “drink and draw” gathering. If you place it in a formal setting and have one lone wolf as leader, you might call that a workshop. Ultimately, that lone wolf would prefer to be left alone to grapple with word and image. Thus, we come full circle.
It’s important to pace myself, considering the material I want to get through in the days ahead, so I will wrap things up by simply thanking all my readers and just reiterate what I’ve said many times: whatever you do, keep a sense of humor.
I am looking forward to this year’s 24-Hour Comics Day, kicking off world-wide this Saturday, October 6th. I want to approach it from many sides. As I always do, I will include the hotel I’m staying at. This year it is the Mayflower Park Hotel. As a lot of my regular readers know, I like to include sketches in my observations as much as possible, whether for a book, travel, hotel review, or whatever it might be.
24-Hour Comics Day 2018
I will have my comics-making coincide with the internationally observed 24-Hour Comics Day. I will start drawing from 10 am on Saturday and continue from there to 10 am on Sunday. There are a bunch of guidelines to this activity. The goal is to create a 24-page narrative in sequential art. If you finish early, great. Or you can take a detour from that goal and work on whatever comics project you like. There are other variations, like creating two 12-page comics. I will attempt to do as much as possible, leave the process open-ended.
Okay, with all that said, I anticipate doing a lot of drawing. I foresee doing a lot of full-on comics as well as creating a bunch of drawings that I will end up in need of a proper comics framework at a later date or may end up just standing alone, as is. And, suffice it to say, I intend to honor my gracious host, the Mayflower Park Hotel.
Cartoon Crossroads Columbus (CXC) is one of the newest comics art festivals, founded in 2015 by Bone cartoonist Jeff Smith and comics journalist Tom Spurgeon. If you are in the Columbus area and your passion is comics and graphic novels, then CXC is for you. The “backbone” of the four-day CXC is this weekend’s Expo and Book Fair which brings together 135 comics-makers on the second floor of the Columbus Metropolitan Library, Main Library.
Comic books. Mini-comics. Graphic Novels. That is the main focus. Cartoon Crossroads Columbus is free to the public. It is a distinguished event featuring impeccable talent like Katie Skelly, Derf Backderf, Nate Powell, Zack Soto, Gemma Correll and publishers like Fantagraphics and Silver Sprocket.
The festival takes place at various locations in the University and Discovery Districts, including buildings on the Ohio State University campus, the Main Library, the Columbus College of Art & Design and the Columbus Museum of Art.
“For Better or For Worse” cartoonist Lynn Johnston (Ron Bull/Toronto Star/Getty Images)
This year’s main speaker is “For Better or For Worse” cartoonist Lynn Johnston, appearing at 7:30 p.m. Friday, September 28th, at the Wexner Center for the Arts. Also on the docket is a jammed-packed schedule of talks and panels, screenings, exhibitions and networking. Make sure to hit up the after-parties on Friday at Brewcadia (467 N. High St.) and Sunday at Pins Mechanical Company (141 N. 4th St.)
For more details, visit Cartoon Crossroads Columbus right here.
Whenever I go to anything creative, be it a play or a reading or a comics art festival, I do a lot of processing: What have I learned? How does this fit into the world? So, Small Press Expo is no different in that regard. Once you drop into SPX, it is like being inside a giant pinball machine as you’re being thrown in one direction after another. For me, with many years of experience in creating comics and writing about them, I rely on my internal database to make sense of it all.
For this post, I will introduce some pieces of the puzzle that I will discuss further in upcoming posts. I’m as much cartoonist as journalist in the sense that I feel most alive when I’m tackling a project that requires a good bit of deciphering.
It is my strong belief that you can’t study the art of comics inside a comics bubble. I mean, you run a high risk of doing yourself and the reader a disservice if you come to the subject of comics only as a comics enthusiast. I’m digressing here a bit but I’m just trying to say that comics fit into a much bigger picture. You can, as the saying goes, lose the forest for the trees. Where do you begin with such a colossal subject as comics? You look at it, walk away for a while, then refocus–and always keep in mind those outside of comics or just entering the world of comics.
One thing I do know is that people still read. And I’m always pleased when some folks make their way over to my posts. I do my best to provide concise text with a decent sampling of images as needed. Here I will post some creators I will spotlight in some upcoming posts. I think this will result in giving a sense of the wide range of activity and talent at Small Press Expo. Here are some representative talent: Kati Lacker, Luke Foster, and Sophie Goldstein:
Let’s make a quick detour. I want to share with you a little taste of the comics workshops at SPX put together by Comics Workbook. I had the honor of participating in one led by Dash Shaw. We covered quite a lot of work in one hour! I include a sample in this below video. I even got a chance to participate in the informal Q&A. I wasn’t planning to but then I did.
I put a question to Dash Shaw: “This may sound silly but is the only true work in comics created by one person?” His response was interesting: “It’s great that a work in comics can be created by one person. Not all things can be created by one person. You can’t make a baby with just one person.”
Dash Shaw leading a Comics Workbook session at SPX
I enjoyed that response very much. But it was only the next morning that I thought of a much better way to frame the question–or my own answer back: “It can hold true that, just like the lone painter creating a painting, and we see painting as the act of a singular vision, so too can we see that in the creation of comics, there is a singular vision by one creator.” That is exactly what each student was doing in that session with Shaw: creating one work by one person. So, anyway, that for me was good to think about. Of course, there can be other factors that come in, like hiring a colorist. In the end, comics are about a driving force and that usually means one very determined creator started the ball rolling or kept the ball to themselves.
Time for Small Press Expo, September 15-16! SPX, created in 1994, is the cornerstone to the comics community. It is at the forefront in promoting and providing support. Each year, more than 4,000 cartoonists and comics enthusiasts gather in Bethesda Maryland for North America’s premiere independent cartooning and comic arts festival. Let the latest news speak for itself. This is from a press release that just came out:
“Small Press Expo announced that it will immediately make available $20,000 and also launch a legal aid fundraising vehicle to support members of the SPX community who are currently facing a defamation lawsuit. The fundraising vehicle, administered by SPX, and created in consultation with the Comic Book Legal Defense Fund, will be established for the purposes of defraying the cost of legal representation for the eleven members of the independent comics community named as defendants in the ongoing lawsuit.”
So, yeah, it’s September and that can only mean one thing for die-hard indie comics fans: Small Press Expo! Yes, indeed, each year Bethesda Maryland suddenly becomes, for one weekend, the lightning rod for some of the most cutting-edge comics. If you’re in the area the weekend of September 15-16, then come out to this event and check out some awesome alt-comics.
Now, I must admit that, although I’ve gone and I’ve participated in numerous comics festivals and events as a journalist and as a comics creator, I have never gone to Small Press Expo. Some folks there will have heard of me and some know me from years back. But that doesn’t change the fact that I’m new to SPX. So, I hope to do my best to provide some stellar coverage to this most venerable and respected gathering. Small Press Expo is where much of the indie comics scene gained traction and it remains the jewel in the crown.
So, say hello if you see me and we make eye contact or somehow slip into conversation. We’ll figure it out. Or say hello here at Comics Grinder. If you’re a creator, let me know what you’re up to and maybe we can set up an interview or I can plan to review your work. I don’t exactly expect an avalanche of responses– but I always end up making a decent number of connections at these events. I understand that things will get hectic and maybe you’re shy to begin with. I understand– and I can only focus on so much myself. The main thing is to have fun and to always strive for authenticity. The rest works itself out.
The full press release on the Legal Aid Fund for Cartoonists follows:
James Burns is a very interesting cartoonist. It was a pleasure last year to review his work. A Life Half-Forgotten is an impressive piece of memoir comics, or “autobio,” as this work is commonly referred to within comics circles. Burns taps into his childhood with a confidence and curiosity that sets the bar high. It challenges and inspires each of us to reach back and take a closer look into the past.
Analyzing one’s childhood can be a daunting task. Where to begin? As an exercise in recovering memory alone, you have quite a job ahead of you. When did life truly begin for you? For Burns, life seems to have begun in preschool as he dutifully accepted a box of crayons at the start of the day. He goes on to write and draw his way to insightful observations. All the forgotten traumas come home to roost. Burns made it his goal to sift through the big and small details and see what mattered most. This is a childhood in a Central Ohio suburbia during the 60s and 70s. With great care, and a good dose of humor, Burns explores the high and low points: freedom and privilege as well as murder and divorce.
A LIFE HALF-FORGOTTEN by James Burns
Burns plays with that special ambiguity inherent in comics as he casts himself in this first-person narrative. We have Burns at the beginning playing host followed by him appearing to walk back into his childhood past. He is now a child but he appears to remain an adult. His face retains the same mature features in many panels but also seems to shift to a softer and younger version in other panels. The results, for my tastes, give the scenes an added edge. These are all memories, after all, with a dream-like tone. The black & white with gray tones also helps to heighten the sense of searching into the past.
As Burns puts it, we are all dealing with fragments when it comes to our personal memory. One person paints a picture based on childhood while a sibling paints another. We are summoning up phantoms. We are asking our phantoms to dance again. Burns points out that his recollections seek a greater truth. He acknowledges that he wasn’t concentrating on capturing anyone’s likeness. Instead, he wanted to try to understand things better like the tragic death of a classmate.
Now, I’ll get back to this wonderful tension between the adult Burns seeking out his childhood self, with Burns depicting himself as a child but with an adult’s face. It makes for some very compelling passages. I think I like best where he looks back at how much he enjoyed wearing a Superman costume for Halloween when he was seven years-old. He loved it so much that he ended up wearing the costume on a regular basis underneath his street clothes, just like Clark Kent! It’s such a sweet and innocent recollection–and there’s a depiction of Burns, as a child in a Superman costume but with an adult’s face. It’s an scene filled with haunting melancholy and one of the more striking images I’ve seen in comics this year.
Actually, there are more scenes I could get into. I’ll also mention here the birthday party for Burns when he turned six. That’s another passage that I find very moving. The conflict between nostalgia and truth can take a rest here. For one moment of pure joy, Burns is having a grand time with friends in his backyard. He’s having cake and ice cream. And he gets to play with the most amazing toy fire engine, his featured birthday gift. You attach a garden hose to its side and it gushes out water through its tiny fire hose! I would have loved one of those toys!
A LIFE HALF-FORGOTTEN by James Burns
The murky world of memory is evoked quite well and Burns manages to snare some of his childhood ghosts. He manages to sit down with them, talk to them, play with them, and reach some sort of closure. This book invites the reader to do the same.
Visit James Burns right here. You can find A Life Half-Forgotten at Amazon right here.