THE JUNGLE, adapted and illustrated by Kristina Gehrmann
You may recall The Jungle, by Upton Sinclair, from high school or college and it having to do with exposing the corruption in the meatpacking industry. Well, it exposed that and much more and remains quite relevant. The Jungle finds a whole new life, and a new way to reach audiences, with the new graphic novel adaptation by Kristina Gehrmann, published by Ten Speed Press, an imprint of Penguin Random House.
This is the story of Jurgis and his fiancée Ona and the Rudkus and Lukozaite families, ten in all. They are bright-eyed Lithuanian imigrants looking forward to a new start in the United States, beginning with their arrival at Ellis Island in 1899. The story only progresses for a few years but much transpires as everyone is in for one rude awakening after another. America may be known as a melting pot and immigrants may have been acknowledged as having helped to make America great. But at what cost to the naive, vulnerable and poor? That question is at the heart of the novel.
A relationship at the breaking point.
The original 1906 novel’s exposé of the dangerous practices in slaughterhouses led to actual reform. However, other issues the novel addresses, such as fair housing, immigration, worker’s rights and sexual assault, would not be so readily addressed at the start of the 20th century. Due to Gehrmann’s compelling adaptation and artwork, the old becomes fresh, open for rediscovery and new discussion. Gehrmann combines a cartoony style with realistic touches, along with a Manga-like energy that keeps the narrative moving at a contemporary pace. The reader immediately relates with Jurgis and Ona, a struggling young couple trying to prosper but often just barely surviving. It gradually becomes a relationship at the breaking point. In the Sinclair novel, that was drama to keep a book with a socialist message moving along but, in the graphic novel, it is given an added dimension that will appeal to today’s reader.
The original novel by Upton Sinclair remains a powerful rebuke of those in power who would prey upon the weak. Kristina Gehrmann’s graphic novel adaptation provides an essential gateway to the revered classic and is a remarkable work in its own right. Disillusioned with the novel’s impact, Upton Sinclair famously said, “I aimed at the public’s heart, and by accident hit it in the stomach.” This graphic novel helps to bring out to new readers the greater socialist themes found in Upton Sinclair’s original novel. This is a high accessible work that retains the power of the original novel while inviting a contemporary eye.
The Jungle, the new adaptation by Kristina Gehrmann, is a 384-page trade paperback, fully illustrated duotone graphic novel, published by Ten Speed Press, an imprint of Penguin Random House.
The cartoonist Typex presents a comics biography of the artist Andy Warhol that is like nothing you’ve ever seen before. If you thought you knew Andy Warhol, then read Andy: The Life and Times of Andy Warhol, published by SelfMadeHero, an imprint of Abrams. This is quite an ambitious and fascinating biography, a work of art in and of itself. Typex delivers such a detail-rich account in this 562-page book and leaves you wanting more! He does this by keeping to a crisp and finely-tuned and organized narrative. We go from one period of time to the next, evoking the quotidian while distilling the essential. In the process, the reader is treated to a behind-the-scenes look at Andy Warhol’s personal and professional life.
Andy Warhol meets Edie Sedgwick
An inquisitive cartoonist like Typex is not one to be easily satisfied with a standard comics biography, especially for such a towering figure in art and pop culture as Mr. Andy Warhol. Love him or hate him, Warhol has left a significant mark on the culture and, if not for never fully recovering from a murder attempt and a botched up gallbladder operation, he would have remained active that much longer. He would have found a way. That is what this book is all about: finding your way even when you might seem, like Andy Warhol, to be the most unlikely person to do so.
Typex is most interested in subverting any Warhol hagiography and bringing Warhol down to a human scale. Perhaps influenced by the books he chose for reference material, Typex often tamps down Warhol’s reputation in favor of depictions of him munching on Hershey chocolate bars and lusting over young men. No doubt, Warhol was a highly idiosyncratic individual but he was nobody’s fool and a workhorse. Scant mention is given in Typex’s book to Warhol’s contributions to art history. Typex acknowledges Warhol’s commentary of consumer culture but rather reluctantly. Very little is said about Warhol’s landmark use of serial imagery or his revolutionary use of silkscreens. Warhol made art history, after all. That is a major accomplishment and it sort of gets a bit lost in this otherwise marvelous book. You can say this book is not where you go for art history lessons, per se. This is a book decidedly about a scene or a set of scenes. Then again, it’s what’s happening in those scenes where you find the most interesting art.
Adding to the level of interest Typex has for his subject is how he’s presents his work. He has full page and two-page spreads to evoke the energy and mayhem of various moments. And, for much of the book, he keeps to a nicely packed grid format, nine panels per page. He goes that extra mile by anyone’s standards with including a program guide of notable players from each time period. In fact, Typex is just as concerned with the characters surrounding Warhol than simply Warhol himself. That could account for the somewhat slim analysis of Warhol’s actual career and work. You have to find a way to balance it all out and properly address Edie Sedgwick, The Velvet Underground, Valerie Solanas, Jean-Michel Basquiat, and the countless followers all in search of their own fifteen minutes of fame. It is Valerie Solana who ultimately stands out among the pack with her unhinged grasp for fame and attempt on Warhol’s life. And it is Basquiat who breathes new life into Warhol just as the two of them are nearing the end.
Warhol was driven and he also had a lot of help from his evolving network of colleagues, mentors, and a myriad of aspiring artists, dreamers, and party people. The Andy Warhol phenomenon did not happen overnight nor did it exist without various setbacks. Andy Warhol was neither god nor monster. It all comes back to the fact he was driven. He had the skill, the intellect, and the resources to actually make art history and, despite any naysayers, that’s exactly what he did. Typex explores this ambition as he sees fit while also demystifying the man and his times. Overall, this is quite a fascinating read to be added to other notable books on one of the most celebrated artists of the 20th century. In the end, I believe Andy Warhol would have approved of this book.
Typex is a Dutch illustrator and graphic novelist. A graduate of the Amsterdam College for the Arts, his work appears in many nationwide newspapers and magazines. He has illustrated numerous children’s books and has published some of his own. His graphic novel biography, Andy: The Life and Times of Andy Warhol, is published by SelfMadeHero, an imprint of Abrams. He lives in Amsterdam.
French Comics Association
You can see Typex this weekend if you’re in the D.C. area and this event happens to fit into what you’re doing. Typex will be there as part of the invited guests touring with the French Comics Association. The FCA will be taking part in this weekend’s American Library Association Conference. Okay, if that makes sense, then congratulations, you are a true Typex fan and well above average in every way.
CANNABIS: The Illegalization of Weed in America is the new graphic novel by Box Brown, published by First Second. It is a most remarkable book in how it packs together a disparate clump of facts and myths and makes sense of it all. Here you find a detailed yet accessible answer to the question: How do you take something essentially good and make so many people believe the exact opposite–and why? The short answer: Because it is something running counter to the self-interest of those in power. The long and twisted history of how and why cannabis became illegal in the United States is the latest in the always insightful and informative Box Brown books. The following is my interview with the author of artist himself conducted via email:
Will we ever get back to a sensible approach to cannabis? Will cannabis ever lose the stigma attached to it?
It’s getting better every day and I think in states where it is legal we are seeing the stigma end. They’re seeing that it’s a good, normal industry and the world has not in fact ended. It’s more difficult for teenagers to get cannabis in legal states, people aren’t turning into sociopaths or anything. I think people really need to live through things to really get used to them and understand the real truth about things. My new mantra is that we need to legalize the whole plant. There is still tons of stigma baked into medical cannabis laws. As a PA medical patient you have to go to this special facility with all kinds of security and pay in cash, etc. this is not helping the stigma. It makes patients feel like they’re carrying some sort of radioactive material. It’s going to be a constant push and pull for the next 10, 20 years or more!
In looking back at how a stigma was created over cannabis, you feature how Mexicans were turned into scapegoats during the Great Depression. The “over-immigration” of Mexicans was blamed for lack of jobs for U.S. citizens, the evil of marijuana and whatever else Mexicans could be blamed for. I guess everything old is new again, right?
This was what immediately stood out to me. I knew cannabis was tied to race now. It was disheartening, though unsurprising to find out it’s been like that since the beginning. The first laws against cannabis were in places where Mexicans were butting up against Americans. El Paso, TX had the first local ordinances and it was 100% just so they could arrest Mexican people, almost nothing has changed in these 90-100 years.
The road to cannabis illegalization in the U.S. was secured when it became a matter of self-interest for the federal government to discredit cannabis. And you show how William Randolf Hearst promoted his own brand of “fake news” in the campaign against cannabis. That propaganda took its toll and has left its mark. Is it your hope that your book will help in rehabilitating how the general public views cannabis—or are you just reporting the facts?
I think my philosophy in this respect is that the facts themselves are so absurd that they make their own argument for legalization. I want people to walk away from my book not only supporting legalization but realizing that this isn’t just a cash grab. Ending cannabis prohibition is righting an 83-year-old wrong. It’s not there simply for people to get rich. We screwed up royally with prohibition and we need to fix it.
What sparked your interest in pursuing this book? Maybe you can provide a window into what set the wheels in motion. It seems to me that it might be a case of the more you learned about the federal government’s misinformation campaign, embodied in Anslinger, the more it motivated you to document it.
I was arrested for cannabis possession when I was 16, 1996. Since then this has been an extremely passionate interest of mine. It just didn’t make sense to me that cannabis possession was treated with handcuffs, probation, possible juvenile detention, court, etc. and underage drinking was treated with a phone call home. I found out in my research that in 1996, the year I was arrested the Clinton administration was looking to be tough on drugs and the number of people arrested for cannabis in the US in 1996 DOUBLED from the previous year. I was caught up in Clinton wanting to be perceived as tough on drugs.
What can you tell us about your process? I asked you once at some convention about your hand lettering and you said that you prefer to hand letter since you get the best kerning that way. I think you’re right. Share with us how you put a page together and what you do by hand and what you do digitally.
Okay, so I do most everything with traditional tools: pencils, bristol board, ink, micron pens. Everything is hand-lettered. Then I scan inks and do finishing in photoshop, this basically just means adding screen tones. Although recently I bought a bunch of actual screentones from Japan and scanned those. So now when I add tones in photoshop I’m adding in a scan of an actual screentone.
Share with us anything you might like about the research involved. How long did it take for you to put this book together?
It’s kind of a never-ending process. I feel like I’m still researching the book even though it’s been done for a long time and is now published. I had to edit my bibliography for space, the book would have had 20 more pages. Even still I feel there are things that could be updated but you have to call it a day at some point. The whole process takes 1 to 2 years.
You have certainly achieved an impressive level of excellence in creating graphic novel format work that manages to go into detail, finds just the right places to linger, while being mindful of being concise and consistent. Has your storytelling style come to you naturally or did you set out with a plan on how to tackle a subject, being it Andre the Giant or the story of Tetris?
I often think of it the way I think about comedy improv. I think all of writing and creating is improvised. There’s never a plan from the beginning. Even people who do sit down and make a plan are improvising when they’re making up the plan. You’re always making stuff up as you go along and then editing out the bad or irrelevant or inauthentic stuff. I’ve definitely learned a lot since I made the Andre the Giant book. I think I’ve matured a lot as a person and as a cartoonist. Still trying to work on my drawing though!
What lies ahead? Please give us any final thoughts on projects up ahead, whatever comes to mind.
Very focused on cannabis right now, but I will say I’ve got two projects in the pipeline both concerning 1980’s television.
CANNABIS: The Illegalization of Weed in America is a 256-page trade paperback available as of April 2, 2019. For more details, and how to purchase, go right here.
The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt
Jerome Charyn is one of those rare breed of writers able to write some of the most earthy stories involving some of the most larger-than-life figures, everyone from Marilyn Monroe to Teddy Roosevelt. For TR, Mr. Charyn pulls out the stops offering up the man in his own voice, a magnificent mashup of macho and aristocrat. Bully! TR, as he looks out from Mount Rushmore, remains one of our greatest personifications of America. And with his new novel, Jerome Charyn completes his run at Rushmore. He managed to tackle Washington and Jefferson in 2008’s Johnny One-Eye. He dug deep into the psyche of Lincoln with 2014’s I Am Abraham. And now we have The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt, published by Liveright, a division of W.W. Norton & Company.
Indeed, TR was a manly man right down to having a mountain lion on a leash as his pet. It’s during the Rough Rider period of his life that we first meet this big cat, Josephine. She was the mascot for TR’s own cowboy regiment off to fight in the Spanish–American War in 1898. An invasion of Cuba did not officially call for men on horseback. However, TR had other ideas. As an act of sheer will, TR got his Rough Riders. This excerpt offers a taste of this most quintessential TR adventure. Here we are just as U.S. armed forces begin departure to Cuba joined by the now celebrated Rough Riders:
We were mobbed at every station along the route. Folks welcomed us to their own little war parades. Half-mad women scribbled letters to Rough Riders they had never met and would never meet again. Some proposed outright marriage. A few of our bravos fancied a particular lady and disappeared from our caravan of seven trains. Leonard cursed their hides. But these bravos managed to find us at the next station, or the next after that. A horse died of heatstroke, but we didn’t lose a bravo, not one. People would shout from the tracks, “Teddy, Teddy, Teddy,” and I realized why the Army regulars hated us so. We had captured the imagination of blood and battle somehow–the Rough Riders represented the romance of war. We could have risen out of some biblical rapture. The Army couldn’t compete with cowboy cavaliers.
Let’s shift gears to another aspect of the storyteller’s bag of tricks. Here’s a taste of the pulp fiction action adventure vibe found here:
I had clocked twenty minutes, like pulse beats in my temples. Winters-White kept me from plummeting into that gnarled jungle floor. He tapped me on the shoulder and removed the blindfold. We were in a slight clearing, a bald patch without a single root or tree. And in this clearing was a canvas chair that might have come from a general’s tent. A man in a pince-nez and cowboy neckerchief sat in that chair. I’d have guessed he was my age–a few months shy of forty. He had a jeweler’s nimble hands. His mustache was almost as red as mine, and his eyes were probably just as weak. I couldn’t imagine him as a sniper, shooting at children and nurses from the Army Nurse Corps. Yet here he was, in the green uniform of a Vaquero.
“We’ve met before,” he said in a slight accent.
Wouldn’t it be something to see a Cowboy King movie? There is room for a sequel as this novel covers Roosevelt’s life right up to September 6, 1901, the assassination of President William McKinley, a day that would catapult TR as far into the arena as he had ever dared possible. That said, you really don’t need to look any further than this novel. Cowboy King is a novel at its best: engaging, immersive and compelling.
Teddy Roosevelt, an American original.
The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt is a 286-page hardcover, available as of January 8th, published by Liveright. And be sure to visit the Jerome Charyn website where you can purchase a signed copy.
Berlin is a monumental work in comics. Few cartoonists will come close to such an achievement–and it couldn’t have been created by a nicer guy. What came across, over and over, during this talk is the fact that Lutes is very accessible and down to earth. That open approach plays into part of what makes his landmark work so special. It all began when teenager Jason Lutes wanted to make sense of a documentary about the holocaust he was suddenly exposed to in a high school history class. The teacher for that class was an alcoholic who made no effort to hide his struggles. He literally set up the movie for his class and left to get a drink. That abrupt and careless action ultimately triggered an in depth exploration of Weimar Germany through a creation of an expansive work in comics that would take 22 years to complete.
#ProtectMueller march in Seattle on 8 Nov. 2018
It was not lost on anyone during Lutes’s talk related to the dismantling of the German government of the 1920s that concerned citizens, just outside on the streets of Seattle, were protesting Trump’s own inroads into dismantling the U.S. government. Timing is everything. That Thursday night book talk directly coincided with protests across the country in support of protecting the Robert Mueller investigation after Trump installed a loyalist as acting Attorney General of the United States. Details are everything. If you follow the characters and the rich narrative of Berlin, you can’t help but get an eerie sense of having a mirror held up to the past and to the present.
Cartoonists holding each other’s works: Jason Lutes with David Lasky
Authenticity is everything. What is so appealing about comics by Jason Lutes is the solid storytelling. That involves a dynamic use of the comics medium: a crisp consistency in step with strategically placed visual elements that are pleasing to the eye and move the story forward. A quick example: I was standing in line to get my copy of Berlin signed and I made a point of poring over each page as I flipped my way through. Right around the midpoint, there is a page made up of wordless panels showing a mysterious figure in a row boat. He reaches the shore to find what looks like a vicious snake. He picks it up by its jaws and overpowers it. That same character reappears in the book as does the snake, both providing just the right doses of symbolism as well as pure entertainment. It’s important to note that, while Lutes referred to vast amounts of research and reading, he also fondly recalled the influence of key works in pop culture. Berlin Alexanderplatz, a novel about Weimar Germany, by Alfred Döblin, holds as much importance to Lutes as his viewing of the original Star Wars movie as a kid. Altogether, what you have in Berlin is an honest look from an individual processing and distilling at a meticulous level.
Cartoonists Revisit: Jason Lutes with Jennifer Daydreamer
For many in the audience that night, it was an opportunity to revisit a respected work and commiserate with a friend and colleague. Seattle is a lightning rod for countless creative people and that includes a high number of independent cartoonists. There’s a certain sensibility to the alt-comics artist with Jason Lutes being a prime example. As he discussed in his lecture, it was Seattle that he gravitated to in the 1990s. After attending the Rhode Island School of Design, Lutes moved to Seattle and worked for the comics publisher, Fantagraphics. He subsequently worked for the alt-weekly, The Stranger, just as it began publication in 1991. During this era, Lutes became part of a group of cartoonists that went on to form an integral part of the Seattle comix scene. That group included some members that were in attendance that night: Megan Kelso, David Lasky and Jennifer Daydreamer. It was a treat to have part of the gang together again on such a special occasion.
King Trump Confronts American Presidents. Illustration by Henry Chamberlain.
If someone could use an employee manual, it would certainly be the current occupant to the highest post in the land. Jeremi Suri’s new book guides us through what has become of the American presidency, from its development to its inevitable decline. If Donald Trump were to read it, “The Impossible Presidency” would provide much food for thought.
Suri’s prose has an inviting conversational tone that lifts the reader up. His main argument is that, after a long period of expansion, the job is now collapsing in upon itself. For the first part of the book, we read about the presidents who transformed the office: Washington, Jackson, Lincoln, and the two Roosevelts. The second part of the book follows the fall: JFK and LBJ; Reagan; Clinton and Obama. FDR was the last president to fundamentally remake the job and save the country, and the world, in the process. No one else is going to top that. Furthermore, the job has become so complex that no one person, according to Suri, can ever hope to juggle all the responsibility. Spoiler alert: Suri advocates for a two-person job with a president and a prime minister. Of course, we’ve already established a partnership between president and vice-president since Carter. But that may not be enough.
It is Donald Trump who so neatly underscores Suri’s thesis about the decline of the job that he cannot help but cast a long shadow over the whole book. Suri uses contemporary politico lingo currently associated with Trump. Suri describes past presidents as responding to their “base” and “doubling down” on important issues. More to the point, Suri provides numerous highly relevant examples of how presidents have appealed to the male white voter. This is a fact that each president has wrestled with from the very beginning.
THE IMPOSSIBLE PRESIDENCY by Jeremi Suri
In a work full of evocative and highly informative passages, what Suri does with FDR stands out. Suri weaves a series of recollections by Saul Bellow as a Depression era youth who is galvanized by the reassurances of FDR, the man on the radio, with the funny posh accent, that everyone intently listened to. In the case of FDR, his word was as good as gold. When FDR ordered an increase in the money supply, he answered any criticism over its legitimacy by stating, “How do I know that’s any good? The fact that I think it is, makes it good.” As Suri points out, that kind of common sense meant everything to a struggling boy like Saul Bellow. It was real words backed up by real action.
In a very accessible and compelling style, Suri guides the reader in distinguishing the most consequential American presidents. In this excerpt, you get a taste of Suri’s writing as he compares Lincoln to FDR:
“If Lincoln was the nineteenth-century president, Roosevelt was the twentieth-century American leader.
Lincoln’s presidency anticipated Roosevelt’s. The latter had to contend with the collapse of the American (and world) economy, but they both spent much of their presidencies at war. In retrospect, Roosevelt’s ability to respond creatively to the Great Depression and echo Lincoln’s war performance is truly exceptional. No other president faced the same range of existential challenges. As a consequence, no other president had so many opportunities to change the basic structure of American society, and vast sections of the modern world. Roosevelt turned the darkest of times into the brightest of new hopes. He was not only the first welfare president, but, by 1944, the first global president, influencing more parts of the world than any previous American executive. He pioneered the New Deal and then globalized its reach.”
No less heroic is the way that JFK navigated the Cuban Missile Crisis. In sharp contrast to FDR’s time, Suri points out, the job of president had become so compartmentalized that, even at the height of the crisis, JFK was hamstrung with a schedule crammed with activities of little to no real significance. The office had taken on such a life of its own that it was assumed the president would simply pick how his advisors wanted to strike at Cuba not whether to discuss other options. Of course, we know JFK found another option. But, in the case of Vietnam, the system forced his hand. For LBJ, it was more of the same: another president distracted as well as compelled to great action.
Suri states that gradual and incremental progress is the new template fashioned by Clinton and Obama. But, Suri goes on to say, a sense for bold action must not be lost. For Clinton, it was not responding to the genocide in Rwanda. For Obama, it was not responding to ISIS as the threat emerged. In both cases, each president was conscious of the risk of overextending and held back when they should have acted. As for Trump, Suri seems to see him as more of a warning that we’ve hit rock bottom and now we must plan for what lies ahead. This is an essential book for putting our current state of affairs into proper historical context.
How Much More of King Trump? Illustration by Henry Chamberlain.
The focus of this book is to show how the modern American presidency has evolved into a colossal apparatus. In turn, the role of a modern American president has become virtually unmanageable, too demanding for just one person. Or has it–or is that the crucial problem? To be sure, it is a problem but solving it won’t resolve other government dysfunction. Suri does not delve into what his proposed solution would gain. A team of president and prime minister, as he suggests, would still be at the mercy of a corrupt and compromised Congress. But one step at a time. A post-Trump America, in and of itself, will be a step in the right direction. More and more Americans, even loyal Trump supporters, are coming to see that something is fundamentally wrong with our current chief executive, his election, his entire administration. One American president who Suri does not cover is President Jimmy Carter. Here is a president who valued integrity and did quite a lot of good while in office. Look it up and you’ll see. This book is just the type that inspires you to keep looking up in more ways than one.
“The Impossible Presidency: The Rise and Fall of America’s Highest Office” is a 368-page hardcover published by Basic Books. You can order this book from Amazon by clicking the image below:
Cartoonist Julia Wertz has a distinctive outlook (irreverent, pithy, snarky) that has gained a loyal following of readers. With her latest work, she brings her unique style to bear on the Big Apple. It is an honest, funny, and insightful approach to learning about how cities evolve, particularly New York City, the quintessential urban mecca. Early in her cartooning career, Wertz said she resisted writing some sort of coming-of-age book set in NYC. Now, more mature, she can dish on the history of the city that never sleeps while also, inevitably, sharing something of her journey of self-discovery. It all makes for an intoxicating blend: “Tenements, Towers & Trash: An Unconventional Illustrated History of New York City,” published by Black Dog & Leventhal.
Wertz sets up a poignant and vulnerable starting point: the remains of the New York World’s Fair of 1964. It’s not a pretty sight. No, it’s a mishmash of faded totems to the future. Ironic stuff, indeed, irresistible to a wise-cracking cartoonist! Surely, you know that most, if not all, cartoonists have a sardonic sense of humor. And Julia Wertz is just the sort of sardonic tour guide you would want. But it’s not just about the snark–far from it. Sure, Wertz puts the 1964 World’s Fair through the wringer, deeming it a celebration of corporate-sponsored consumerism. Now, the 1939 New York World’s Fair had style but, in its own way, it too was a celebration of corporate-sponsored consumerism. This sort of comparison easily lends itself to delving deeper and therein lies what this book is about, what makes it unique and beautiful.
Egg Creams, best to keep them simple.
New York City is all about the tension between the pretty and the not so pretty. Wertz revels in this fact. It seems as if she can’t get enough. Just when you think you have this book figured out, Wertz will delight the reader with shifts in narrative, compelling visuals, and overall heart-felt enthusiasm, the sort of lust and vigor you’d expect from an Indiana Jones in the jungle except this is Julia Wertz on countless urban expeditions. She tracks down everything: bagels, egg creams, The Village Voice, railroad flats, micro-living units. It’s all here and then some.
I love New York almost beyond words. My heart goes out to Julia Wertz and her marvelous long walks spanning hours upon hours and covering multiple boroughs and miles. I highly recommend taking this book on a NYC trek of your own. It’s a hefty hardcover but, if you make it your primary item in your backpack, you’ll be just fine. You can make your own comparisons and connections guided by all the amazing drawings that Wertz has to share of bygone and contemporary New York. This book is really an inspiring combination of prose and artwork and comics. This is simply a dazzling book collecting a treasure trove of insight and information and making it all feel like a carefree conversation.
223 W. 42nd Street in 1964 and in 2014.
“Tenements, Towers & Trash: An Unconventional Illustrated History of New York City” is a 284-page hardcover published by Black Dog & Leventhal.
If you’re in Seattle this weekend, be sure to stop by and see Julia Wertz at the annual comic arts festival, Short Run, or the the Seattle Public Library. At Short Run, on November 4th, Wertz will be giving a slideshow/talk about her urban exploring from 3:30-4:30pm at the Vera Project. And at the downtown Seattle Public Library, on November 5th, Wertz will hold a slideshow and conversation with cartoonist Nicole Georges from 2-4pm.
Has a major American city ever commissioned a graphic novel as a public art piece before? Seattle is on board! Cartoonist David Lasky and writer Mairead Case have been selected (from 71 applicants) by the City of Seattle to create a fictional graphic novel centered around the historic Georgetown Steam Plant. The goal is to increase awareness of this unique landmark with a graphic novel geared toward young adults.
Panel from “The Carter Family: Don’t Forget This Song”
David Lasky is the co-author (with Frank Young) of the Eisner-Award-winning graphic novel biography, “The Carter Family: Don’t Forget This Song.” Chicago writer Mairead Case is the author of the acclaimed prose novel, “See You in the Morning.” A story by Lasky and Case, “Soixante Neuf,” was featured in Best American Comics 2011.
West elevation exterior of engine room. The Georgetown Steam Turbine Station, built in 1906 is now a National Historic Landmark. The plant is owned by Seattle City Light and has been working to restore the plant. It is open for tours the second Saturday of each month and is occasionally used as a teaching facility for steam power engineers and hobbyists.
Here is a brief email interview I did with Mairead Case today:
What went through your head when you got the news about being chosen for this special graphic novel project?
Well I was, am, sincerely grateful: to be from a city that celebrates public monuments with comics, and to have visibility and support for the creative relationship David and I have pretty much always had, even when nobody else was looking. Grateful to have work that includes time for oral histories and site-specific research (no screens!). And aware of the responsibility to accurately represent Georgetown’s diverse history—we want to use this platform to amplify and illuminate the stories that are already here, not co-opt them. For real. (Also, I was really happy to have news that would make my mom proud.)
Are you already envisioning what your routine will be like with the project?
David and I are both pretty focused, detailed nightowls so I expect we’ll have a focused, detailed, nightowl routine. That said, it’s amazing to have financial support for this project so it’s really exciting to think about how we might work in new ways with that gift. (We might even work in the daytime, ha!) But no matter what we’ll be collaborating closely. And we will probably listen to Bowie at some point.
Did you ever think you’d be creating a graphic novel about a steam plant?
I feel like I’m supposed to say no here, but why not? When I was a kid I wanted to be a tightrope walker so maybe this is not that far off.
What do you think this project might say about the role of graphic novels in America?
Ah, I think our role is to make the book and then other people can tell us! But it is terrific terrific terrific that Seattle is supporting a project like this—it’s really wonderful that an American city in 2017 is using art to build community, as defined and remembered by that community. I’m used to telling (maybe yelling a little too) at the government about that, and am still gobsmacked that this time the government was all “we know. Go.” I hope that other cities say “Go” too. The talent is here! American cities, if you want me to send you lists about the talented storytellers I know in your neighborhoods, just send a flare.
You can keep up with this intriguing project right here.
And, if you’re in Seattle this weekend, be sure to stop by and see David Lasky at the annual comic arts festival, Short Run.
“Pantheon: The True Story of The Egyptian Deities” by Hamish Steele
Who knew that ancient Egyptian (3000 BCE – 30 BC) mythology could be so much fun? Well, a very creative and funny guy named Hamish Steele sure does. Read his take on these creation tales in his new graphic novel, “Pantheon: The True Story of The Egyptian Deities,” published by Nobrow Press. It is always a pleasure to review a book by Nobrow as they consistently bring out books that will appeal to a wide readership. This book I peg at ages 13 and up. A tongue-in-cheek blurb on the back provides a friendly warning. It states that this book contains depictions of “incest, decapitation, suspicious salad, fighting hippos, lots of scorpions, and a golden willy.” So, keep that in mind.
Osiris weighs in.
Steele has created a “disruptive” comic interpretation of Egyptian mtyhology. It is as if he picked the brains of countless students who have had to slog through arcane history and literature and given them exactly what they wanted. How about The Canterbury Tales as told by Borat? The original is “bawdy” but still a bit distant. There is no harm in making it more accessible. In fact, the great Seymour Chwast gave us his take on The Canterbury Tales a few years ago and brings things to life in way that only the comics medium can do. What Steele does is follow the pantheon of gods and pharaohs as they attempt to rule over ancient Egypt, warts and all.
Isis on the hunt.
Take, for example, just how badly things go when a god is insecure. Ra, the sun god, senses that he has outworn his welcome among humans. So, what does he do? He turns his one and only duaghter, Hathor, into fury itself, hell-bent on killing humans. Not the best solution to a problem. Steele plays that up with sly wit. Of course, things get far more complicated once Ra drops off a few gods to fight over who will rule over humans as pharaoh. Gods being gods, nothing is beneath them. And here, Steele runs with it.
With an appealing style, Steele infuses these tales of gods and mortals with a zesty contemporary vibe. Steele’s approach is uninhibited, playful, and spot on. This would be a welcome addition in a high school or college classroom.
“Pantheon: The True Story of The Egyptian Deities” is a 216 page full-color trade paperback, available as of September 15, 2017. For more details, and how to purchase, visit Nobrow Press right here. You can also find this book by visiting Amazon right here.
Mark Gottlieb is a composer and a lucky person to have been a lifelong friend of screenwriter George Clayton Johnson. This friendship led to a collaboration between Gottlieb and Johnson on “Zola,” a compelling musical that features the Dreyfus affair, a scandal that rocked France at the end of the 19th century and reverberates to this very day. There are a number of things to unpack and discuss here. We begin with an overview of what the infamous Dreyfus affair was all about and go from there, with plenty of recollections about the great ole storyteller, the timeless, George Clayton Johnson.
The Dreyfus affair focuses upon a wrongly accused man who made the perfect scapegoat for the time. Considering how Rod Serling was such a steadfast advocate for human rights, it is quite fitting to find George Clayton Johnson, one of Serling’s fellow writers on The Twilight Zone, as co-creator of this musical. Johnson was always a person to side with the nonconformist. So, it was natural when Gottlieb, in search of a libretto, came calling on George. The two entered upon a partnership and worked, off and on, on the Zola musical for many years. Since the death of George Clayton Johnson in 2015, the impetus has been to get the musical out into the world. To that end, Gottlieb is contacting like-minded souls such as myself to help spread the word. As someone who also got to enjoy a special connection with George, it is my pleasure to present to you this conversation I had with Mark Gottlieb recently.
Now, a little history: The Dreyfus affair occurred during France’s Third Republic. It was sparked by the wrongful imprisonment of French army captain Alfred Dreyfus in 1894. The matter would officially drag on until 1906. Dreyfus was convicted of treason for allegedly selling military secrets to the Germans in December 1894. At first the public supported the conviction; it was willing to believe in the guilt of Dreyfus, who was Jewish. Much of the early publicity surrounding the case came from anti-Semitic groups (especially the newspaper La Libre Parole, edited by Édouard Drumont), to whom Dreyfus symbolized the supposed disloyalty of French Jews.
The effort to reverse the sentence was at first limited to members of the Dreyfus family, but, as evidence pointing to the guilt of another French officer, Ferdinand Walsin-Esterhazy, came to light from 1896, the pro-Dreyfus side slowly gained adherents (among them journalists Joseph Reinach and Georges Clemenceau—the future World War I premier—and a senator, Auguste Scheurer-Kestner). The accusations against Esterhazy resulted in a court-martial that acquitted him of treason (January 1898). To protest against the verdict, the novelist Émile Zola wrote a letter titled “J’accuse,” published in Clemenceau’s newspaper L’Aurore. In it he attacked the army for covering up its mistaken conviction of Dreyfus, an action for which Zola was found guilty of libel.
What follows is my interview with Mark Gottlieb. Here we begin with the Dreyfus affair and quickly dig deeper into the issues involved. Then we steadily see how Gottlieb and Johnson joined together as a creative team. In the process, we get a unique inside view into the world of George Clayton Johnson, a unique voice in storytelling. He is best known for iconic episodes of The Twilight Zone like “Kick the Can,” and “Nothing in the Dark.” Among his work, he is also known for writing “Man Trap,” the first episode broadcast of Star Trek, as well as being the co-writer, with William F. Nolan, of the landmark science fiction novel, “Logan’s Run.” Lastly, I have to say, I believe this interview will really hook you in. The proper warm up and set up is done and off we go: