A Village Voice newspaper stand lays on the ground next to garbage in New York City’s East Village on Tuesday. The Village Voice, one of the oldest and best-known alternative weeklies in the U.S., announced that it will no longer publish a print edition. Drew Angerer/Getty Images
One of those youthful memories that drifts up for me at various times is seeing a pile of issues of The Village Voice at a friend’s apartment. He liked going through them. Like me, he loved reading and writing. And, if you were serious about writing, you kept up with such publications on a regular basis. Before the internet, The Village Voice was one of those portals that gave you a taste of certain literary trends and urban happenings. It was fun to pore over the pages and even to simply handle this object made of paper, this symbolic series of messages from that bright big city, New York City, the epicenter of all things media and culture. If you aimed to be hip, wanted a ticket to the subculture, you read (and can still read!) The Village Voice. This publication means a lot of things to many people. For me, it was primarily a writer’s magazine. But no longer can you read new print issues, only digital moving forward.
Now, the end has come to that particular experience. The Village Voice has ceased its free print version, a staple of New York City life and urban life beyond. Well, the end occurred a long while back but this is the definitive end: absolutely no more paper copies! Is this really news? I’m not sure that it is as this transition from print to digital has been steadily going on for years. Just like typewriters and phone booths became extinct, so too will all print newspapers bite the dust.
For some steadfast followers of pop culture, they would like to claim some greater significance to the death of the print version of The Village Voice. To be sure, it does seem to be heart-breaking. But, let’s get a grip. All content moving forward is now digital and that’s great. Digital archives are a breeze compared to microfiche or, God forbid, musty old stacks of actual crumbling newsprint. There’s a reason that newspapers have always been printed on the cheapest paper imaginable. They were only meant to be read on the day, or week, they were published and subsequently used for practical purposes like wrapping fish.
Now, don’t get me wrong. I know there are plenty of nerds among us, and I count myself within this group, that can’t help but want to get all sentimental about such things as newspapers. Well, resist that urge. Unless you have more than ample space, say an attic, you don’t want to have a bunch of old copies of this or that newspaper or magazine providing little more than clutter. When was the last time you cracked open that classic issue of Life magazine? Never, right? It’s hard not to be a packrat.
Final print issue of The Village Voice
The practical concern over the shift from print to digital is about the various features in the print version surviving the transition. What about the columnists? And what about the cartoonists? Well, what about them? If a content provider is creating compelling content, then that content is going to find an audience, and it will survive the great transition.
For those of you who did not grow up with newspapers, you’re probably wondering what the big fuss is over. Newspapers, just like magazines, used to be far more powerful and influential. People took far more notice of them and relied upon them. Eyes lingered longer on the text, the photographs, the illustrations, and the comic strips! To this day, I have a memory of a distinctive caricature on the front page of The New York Observer. It was 1976, and I was a precocious tween. The cover featured Sen. Hubert Humphrey. It may have been an illustration by Levine. And the headline asked, “Will He Run?”
The bittersweet fact is that we’re saying goodbye to another link with history. Even as a kid, looking at the cover illustration of Humphrey, I knew that it reeked of the past. Humphrey’s image was being rehabilitated. This was before my time but I knew he was part of the Vietnam War, part of a past that we were steadily coming to terms with. Humphrey was part of the discredited past. Jimmy Carter was part of the future. Seeing that newspaper, holding it, reading it, I could tell there was something slow and quaint about this whole format, acting as much as a portal to the present as to the past.
Village Voice, April 10-16, 2013 issue
The bittersweet fact is that we are currently experiencing the long goodbye to all print publications. And they won’t go without a fight. For some oddball reason, the print version of Newsweek rose from the dead. It will finally die off soon enough. The publications that are least financially stable will drop out of the print game even sooner. The alt-weeklies, which many of us cherished in our youth, will concede to only being digital. For example, here in Seattle, both The Stranger and The Seattle Weekly already behave very much as digital entities with their weekly print versions mostly serving as a place to highlight the features that appeared on their respective websites that previous week.
Getting back to the features that used to have a secure home in print: the creators of observation pieces and comics should follow their heart as best they can if they can’t follow their wallet. Start a blog. In the age of newspapers, you had to tap dance, beg, and plead to join the party. Those days are over! To all you heavy sentimentalists, don’t forget, we are well into a new century. Dry off those tears. The Village Voice is still alive in the format for a new age. The print version was your dad’s Village Voice. Sorry, but we can only move forward.
One last thing, be sure to actually read, and support, The Village Voice. Just because it’s digital doesn’t mean it can only survive on sentiment. Visit and support The Village Voice right here.
There’s a lot of thought and care that goes into a solid work of comics but the results should be magical for the reader. Within the multi-layered world of independent cartoonists there is a fair amount of intrigue mixed in with camaraderie. Creators can get lost in a fog of competing interests. The answer is to find your way and simply pursue your vision. Cartoonist Craig Johnson II has tapped a significant vein of New York City history to create a comic both purposeful and entertaining. THE LEGEND OF PINKY, an ongoing series ultimately to be a graphic novel, published by Carbon Age Comics, is set in the early years of gangsters (1920s to 1930s), specifically involving the interconnections between Jewish and African American players.
Harlem’s uneasy friendship with Pinky.
The main character is Irving “Pinky” Horwitz, a lean and mean trained killer in the Goldman gang. He is an exceptional assassin, when he bothers to do his job. Pinky’s biggest flaw is an utter lack of discipline. If there is a chance for him to feed his lust and ego, he will take it. And his favorite place to do that is Harlem. In that arena, reckless young women jump into bed with him and skeptical young men sometimes push back and sometimes accept him. With Pinky, and those in his orbit, Johnson has created one of the most fascinating comics currently available.
Pinky and his mom.
The story begins with a pivotal moment gone wrong. Pinky was supposed to report for an important mob hit of two rivals. Instead, he was in bed with his latest conquest. Meanwhile, Sam, his partner, attempted the complete the two-man job by himself but was only able to kill one of the two men. And so begins the conflict that demands resolution in the first issue of this comic. Pinky, no doubt, is due his comeuppance. But Pinky is not without some redeemable traits. Clearly, Pinky seeks approval. There are two women in particular that he cares about: his own mother; and Yetta, a union organizer of garment workers. He takes great delight in showing most people his disdain. But, for a select few, he values some connection, especially the friends he seems to have made in Harlem.
Pinky in his element.
I am often asked what it takes to create a graphic novel. Well, I like to add that this undertaking is, intrinsically (in the undertaking) and ideally (in the creator’s vision), a heroic work. And then I always say that a hero (or an anti-hero) is essential to the story. By and large, this is the model of the vast majority of successful graphic novels. Most of these works are biographies and borrow from history in one form or another. The fact is, to do this right, you don’t want to get bogged down by the facts. This is a work of entertainment, not a meticulous history. Johnson is spot on in how he incorporates history into the bigger picture of his narrative. Everything lifts off the page as we follow accessible characters and vivid action.
Graphic novels, when true to their original intent, are vivid works of sequential art that evoke the breadth of a prose novel within its own unique narrative structure. Johnson is sensitive to what is possible in the comics medium. He has done the legwork necessary to create a credible foundation as he goes about completing his full-length graphic novel. The artwork is dynamic and the pacing is compelling. Essentially, he has found something that can be quite daunting for many a cartoonist lost in a fog. Johnson has found something to care about. He is compelled to follow through on his vision. This first issue clearly demonstrates that.
Be sure to keep up with Craig Johnson II right here and THE LEGEND OF PINKY, and Carbon Age Comics, right here.
Harry Homburg was a porn magazine mogul. His life was not poetic or refined. But he could always rely upon making money and getting laid. That’s all that seemed to matter. And then the bottom fell out of the traditional porn industry. This is the basis for Danny Hellman’s new book that follows one man’s attempts to claw his way back to the top. I believe Danny Hellman to be one of the hardest working illustrators in the business. He has secured his place in his chosen field of illustration with a singular style and sense of humor. “Resurrection Perverts: Hunter’s Point” is his first long-form work in comics.
Is there more to life than sex and money?
I’ve seen various short comics narratives from Hellman and I’ve always enjoyed them. I do appreciate his often ribald and provocative stuff and this new book about a fading porn publisher fits right in with his jaded big city tough guy brand. The book is set up at one panel per page. The introductory remarks attached to the book state that it is “one scene per page, like a series of smartphone screens.” The premise is that, in order to save his failing Harlot magazine, Harry will do anything–except change with the times. And why should he? As far as he’s concerned, the typical Harlot reader not only is tech clueless but can’t even afford a computer. This comic itself, interestingly enough, mirrors Harry’s cynical view. Like a really goofy skit on SNL, you just roll it and Hellman has the balls and the skill to get away with it.
Almost like father and son.
There’s a moment in the story where Harry Homburg is preparing to have dinner with his elderly business partner. Harry calls over the waiter: “Jimmy, listen. This guy is macrobionic. No menu. Just bring him a bowl of moss.” It’s a sharp and funny little moment. And I could very well see Hellman writing the whole book just to include it. The book really feels like a wiseguy giving everyone the finger and that’s not easy to do well, and with style. If you’re a fan of Howard Stern (and, at this point, who isn’t?) then you’ll relate and rejoice to the humor found here. If you’re looking for the next cutting-edge work in graphic novels, this is not that kind of gem. That said, it is a gem, all the same.
A night out at Papageno.
Much of our story takes place in Lower Manhattan at Restaurant Papageno. There is excitement in the air with the anticipation of Homburg’s publishing exclusive photos of a sex scandal involving a US President. Add Homburg’s struggles with the digital age and it all feels circa 1998. But that’s neither here nor there. Basically, Hellman would tell you, it’s the present–deal with it. And, you know, I can deal with it. If you’re someone who has explored NYC with any depth, you know there is plenty of activity lost in a time warp. This is all fun and gritty stuff that rings true. And, sure, I’d be happy to see people reading this comic on their smartphones. As of this writing, this book is only available as a hardcover. A Kindle version will be available as of June 1, 2017. This is part of a series so I am eager to see how things develop with this project.
“Resurrection Perverts: Hunter’s Point” by Danny Hellman
“Resurrection Perverts: Hunter’s Point” is a 112-page hardcover, in full color, published by Dirty Danny Press. You can find it at Amazon right here.
I really appreciate the insightful review by Stacey E. Bryan of my graphic novel, “Alice in New York.” Stacey is the author of the humorous supernatural thriller, “Day for Night.” Her review is a wonderful boost of acknowledgement. All of us writers and artists strive for just this sort of connection.
The Big Apple. For a lot of people, those four words would mean little or nothing. But for me personally, it means a lot, because I was living there in 1989. The Twin Towers were still intact. Our country hadn’t turned that strange corner yet and started accelerating down a slippery slope into the 24-7 fear-mongering which has left us in the mess we’re in today.
When you’re in a mess, there’s no room for magic. But in 1989, in New York City, the old gods, the old ways, were still intact, and this is the year and the setting where Henry Chamberlain captured that feeling tenderly and bravely with his graphic novel “Alice in New York.” […]
Much is brewing for novelist Jerome Charyn and I imagine that’s always been the case. Currently, he has a new novel out, “Jerzy,” which tackles the controversial life of writer Jerzy Kosinski. The development of “Hard Apple,” an animated series based on Charyn’s Isaac Sidel crime novels, is on a fast-track. “Winter Warning,” perhaps the last installment of the Sidel novels comes out this October. And “Family Man,” a deluxe re-issue of Charyn’s collaboration with cartoonist Joe Staton will be available later this year, with a Kickstarter campaign in support of the IT’S ALIVE Press print run closing on May 21st.
For a writer steeped in the works of great literature, it is comic books and movies that influence his work as much as anything else. In 1986, “The Magician’s Wife,” a graphic novel written by Jerome Charyn and illustrated by François Boucq, published by Casterman, won for Best Album at the Angoulême International Comics Festival. That is tantamount to winning an Academy Award for the comics industry. Mr. Charyn’s contribution, and subsequent collaborations, have significantly added to the developing art form that is the comics medium, specifically graphic novels.
We begin our conversation talking about character. In this case, the celebrated and controversial writer Jerzy Kosinski. At the end is a link to the podcast:
Jerzy Kosinski with David Letterman, 1984.
HENRY CHAMBERLAIN: Let’s begin with your recent novel, “Jerzy.” My thinking is that the life of Jerzy Kosinski fits in well with your work as you’re drawn to unusual characters seeking salvation.
JEROME CHARYN: When you look back at it historically, it almost seems like he didn’t exist. He seems like a made-up person. He led so many fictional lives. To me, it was very sad because the first two books he wrote, “The Painted Bird,” and his second novel, “Steps,” which is just as unusual, were works of genius. But, when he put on the mask of Jerzy Kosinski, in the other books, they’re no longer anywhere as interesting. They don’t have the same sad, hard touch. They’re made-up, invented. They’re not authentic.
“Jerzy: A Nove” by Jerome Charyn
“Steps” talks about his life after the war and how he lived. We have such a narrow glimpse into what it must have been like to live in a communist country after the war. And this is, you know, almost like Kafka. I mean, the world he describes in “Steps” is extraordinary. I found him to be a strange man. Very hard to deal with. But the early work was incredible.
You share a certain sensibility with Kosinski: a connection to Russia.
Yes, my mother was Russian. And I love the literature. There’s nothing like it. This is not to take anything away from American writers but when you go back to Dostoyevsky, Tolstoy, Pushkin, Lermontov, and Gogol, it’s almost like being caught in a landscape of illusions.
Lowes Paradise Theatre in the Bronx. “It was comics and movies. That was my education.”
Would you share with us your special connection to comics. You grew up in the Bronx with comics.
Yes, that’s why it’s not so strange to be involved in the whole aura of comic books. I’m about to embark upon an animated series based on my Isaac Sidel crime novels. People talk about the special role of storyboard artists. Well, I’m a storyboard artist in the sense that I can see the storyboard in my head. I grew up with comics. I learned how to read with comics.
As you wrote in one of your articles, I’m one of the first people to make the crossover from fiction to comics. I started out as an artist but I had no talent at all. So, I needed artists to work with. And I was lucky to find some of the very best artists while I was living in France. Had I not been living in France, it probably would never have happened.
A SUIVRE, a Franco-Belgian comics magazine published from February 1978 to December 1997 by the Casterman.
Your work in comics began with your connection to the comics magazine, A SUIVRE.
Yes, the title means to be continued. It was an extraordinary magazine. It lost its circulation, which can happen as you move from one generation of readers to the next. The magazine reviewed one of my novels. I was sent a copy of the issue with the review and I was exposed to some of the most extraordinary art: Tardi, Bilal, and José Muñoz, a master of black & white. I wrote a letter to the editor, Jean-Paul Mougin, a wonderful editor. I wrote to him about my desire to work with an artist. He found for me François Boucq, and we were able to collaborate on several graphic novels, including “The Magician’s Wife.”
When you were entering into this collaboration, were you at all thinking that you were about to a make your mark on this exciting and emerging comics art form or were you thinking more of it as an interesting experiment?
I would say it was both. To declare that I was making my mark would have been thinking too far ahead. I adored the work Boucq did. I remember working in television for the first time twenty-five years ago. And I recall thinking that I would love hearing the lines that I wrote for the pilot, adapted from one of my novels. And I didn’t love it at all. But when I saw the art that François Boucq did, I almost cried. He took a story that I wrote and interpreted it in his own way. The results felt totally personal. On television, the words each actor and actress spoke had no relation to me whatsoever. I was startled. I’d seen the rushes. I thought I would really enjoy it. It was dead to me.
Do you recall what televsion show that was?
Yes. It was an adaptation of “The Good Policeman.”
I wanted to build a little more on what you’ve said about comics, that it comes in and out of reality. And you’ve talked about how one can linger upon a panel. The framework of comics is unique, is magical.
Yes, it is magical. It has its own framework, like a house. It’s architecture. The panels are pieces of architecture. Also, you can move them around and shift the logic. You can possibly do that in a novel but it’s going to be difficult for the reader. You see how I do that in “Jerzy.” I shift the narrative, in a way. It seems to me, going back to Krazy Kat, you move from panel to panel and you’re in a different landscape. That, to me, was very exciting. In other words, there were no rules. You could tell the story in any way you wanted.
“Once Upon a Droshky” by Jerome Charyn. Cover art by Edward Sorel.
I wanted to chat with you about your first novel, “Once Upon a Droshky,” published in 1964. It has beautiful cover art by Edward Sorel.
I really love that cover. I’m disappointed that I never worked with him again. I chose one of my friends to do the cover for my next book. That was a mistake since you shouldn’t mix friendship with art.
Is there anything you can share with us about Edward Sorel–did you guys socialize?
I think I did meet him. I do adore the cover. I don’t know why he was chosen. He was a young man at the time. It is simply a wonderful cover as it fits the book perfectly. I was delighted to learn that you had just interviewed him. Not only that, we both have the same publisher, Liveright.
You guys should have coffee some time.
I hope so. I would love to meet him. I always wanted to be a writer and, when you see your first book, it doesn’t seem real. I’m holding it in my hand right now and it still doesn’t seem real!
You seem to have anticipated my next question. I wonder if you could give us a window into that time, at the height of the modern era. Sorel could create the Great American Illustration and you could create the Great American Novel.
“Great American Novel,” no, but it was a time when serious literature thrived. Hemingway was still alive. I believe, Faulkner was still alive. Literature was at the center of the culture. It meant something to the culture. In other words, when I went to Columbia College, we spent four years just reading books. So, one did not talk about the possibility of whether or not you might become a doctor or a lawyer. That was incidental to the idea of learning a way of life. And that has remained with me. The greatest gift I ever had was spending four years studying books. We had a colloquium of ten students and two professors. In the colloquium there was a student who would go on to win a Nobel Prize, another student who became a professor of philosophy at Harvard, etc. These were all very serious guys with a murderous intellect. And literature was a kind of religion. It’s difficult for me to speak about the current generation. But I know that, at that time, literature was at the center of the culture. It meant something.
It’s always been a relatively small group of serious readers. Literature used to mean more to the general public–we’ve lost that.
We’ve lost a lot. There are fewer book reviews and fewer bookshops. It’s the same thing that’s happened to the movies. They’re just remakes of superhero flicks and a few small films. The small has disappeared. It’s the mega-book. It’s the mega-bomb, you know. And that’s not the kind of art that I want to do.
There’s something that Marilyn Monroe said toward the end of her career, and it’s my credo. She said, “I don’t want to be rich. I want to be wonderful.” I feel the same way. I love Marilyn Monroe but she had no idea how to live her life. When she moved back to L.A., she didn’t know how to furnish her house. All she had was a bed and a lamp. It’s kind of sad but also poetic at the same time.
You have an amazing formal education. But, first, you had comic books and the movies. Do those two forces strongly influence your work, the magical realism that keeps popping up?
Yes. Remember, when you grow up with films, you have a visual sophistication that you don’t have in real life. I came from a very poor family. I remember going out with a girlfriend of mine. She came from a very aristocratic background. She was chastising me for not holding my knife the correct way. I seldom get angry. But I really exploded. I said that I lived all my life being told what to do and I didn’t want to be told how to eat. I didn’t have her table manners. I didn’t have her customs. I grew up like a kind of wolf.
But, on the other hand, I had this visual sophistication from a very early age. Joyce Carol Oates explained it to me. I thought that maybe I’d just seen so many movies. She said that maybe my brain was wired in a special way. In other words, I can distinctly remember the back of an actor’s head I had seen in a film thirty years ago. I don’t have to see the front of his face. That crazy visualization was imprinted in my brain.
There were no books in the house. It was comics and movies. That was my education. School didn’t give you much, just little things like how to spell.
“The Secret Life of Emily Dickinson” by Jerome Charyn
What can you tell us about your debut novel. What led you to choose the subject behind “Once Upon a Droshky”?
My grandparents came from the Lower East Side. You have to remember, I’d never traveled. I’d never been anywhere. Even as a kid, I very rarely went into Manhattan. Even though I was sophisticated in terms of what I read, I could not, at that point, take what I read and turn it into what I wanted to write. I had to find a theme, or a group of characters that made sense to me. I remember walking around the streets where my grandparent lived on the Lower East Side. And I can still recall the Yiddish theaters—the marquees and the actors. So, in my first novel, I picked a Yiddish actor who is unemployed. And I was able to move into that world and find his voice. Voice is critical. Writing is music. There’s nothing else but the music.
I certainly enjoyed reading your first novel. I would encourage everyone to grab an existing copy while you still can. It would definitely make sense for this book to come back in a new edition.
That’s when you get into issues of commerce. At some point, things will either work out or not. I’m grateful that I was able to do it. Someone will ask me about how I wrote that novel. Well, I found the music for it. And, for a long time, while I was living in Europe, I’d lost the music. I really wasn’t able to write. I was only able to write about New York. I was able to write stories about New York but I wasn’t able to be more adventurous. Language is a gift that can disappear as quickly as it can reappear. It’s almost magical. You write in a dream. It’s really a dream state. I don’t know how artists draw. I can only tell you how I write. You’re writing in a dream.
Your body of work is breathtaking. When someone goes over the many titles and considers the quality of the work, it’s stunning. A recent example is “The Secret Life of Emily Dickinson.” I had not read that much of Dickinson prior to reading your book. But I have now. And your novel is quite beautiful.
Thank you. I like that book a lot. I was chastised for writing in a woman’s voice. I’d rediscovered Emily Dickinson rather late. I’d never read her letters before and they are just as extraordinary as her poems. I knew I wasn’t finished with her. So, I started “A Loaded Gun.” The wondrous fact is that she never wanted to publish her work. She was like Kafka in a way. She had a secret self that was very tough. People don’t recognize her toughness. And this is what I wanted to write about.
“Bitter Bronx: Thirteen Stories” by Jerome Charyn
I wanted to ask you about your story collection, “Bitter Bronx.” I would recommend that as a wonderful point of entry. I love the fable-like quality to the stories. They remind me, in a way, of J.D. Salinger.
I’m not a great admirer of “Catcher in the Rye.” But I love “The Nine Stories.” I read them in high school. There are three or four of those stories that can make you cry with sadness and delight. The important thing is a book that you can reread and still feel the same affection: Ernest Hemingway’s early stories, Flannery O’Connor, Grace Paley, Isaac Babel. The thing about “Bitter Bronx” is that I had to relearn the craft. My editor in France suggested that I write a collection of stories about the Bronx, and like Yankee Doodle, that became my quest.
I want to call attention to the four recent graphic novel re-issues, translated in English, by Dover Publications. Readers can follow up on my previous reviews for that. I also want to call attention to FAMILY MAN, a crime noir graphic novel that will receive a deluxe reprint from IT’S ALIVE Press led by Drew Ford.
We currently have a Kickstarter campaign for “Family Man.” Drew Ford has not received the recognition that he deserves. He is a shrewd editor and gets exactly what he’s looking for from a project.
Page from FAMILY MAN by Jerome Charyn and Joe Staton
Tell us about “Family Man.”
Andy Helfer was the editor at DC Comics. I was interested in writing a Batman story but they had other ideas.
I’ll bet you could get your Batman story today.
Yes, but I’m no longer interested. Jeanette Kahn, president of DC Comics, was interested in one of my novels for a comics adaptation. At the time, in the very small printed format for “Family Man” in three stingy booklets, I didn’t like the art. However, when I finally saw the original art, I loved it.
The deluxe edition is faithful to all the duotone details of the original work.
My quirkiest question for you: You have these leather masks that all the trainees wear in “Billy Budd, KGB.” Where did you get those masks?
They just came from my head!
Well, they’re very arresting visuals!
Trump cartoon by François Boucq for Le Monde.
The thing is that Boucq is an extraordinary artist. When he focuses in on a subject, he gets extraordinary results. These days, he also does political cartoons for Le Monde. For “Billy Budd, KGB,” Boucq made certain changes in the story. Mine was more of a straightforward spy story. Boucq added in the Native American spiritual quality.
That reminds me of your Isaac Sidel stories. What can you tell us about the “Hard Apple” animated series based on your crime series?
We hope to get eight half hour narratives based on the first book, “Blue Eyes.” Then continue from book to book. I’ve done what they call the bible which is a summary of the characters. And soon I will be working on the pilot. I am excited about it. I didn’t realize how lyrical one could be in that animated format. The original idea, six or seven years ago, was to do a live action series. When we moved from that to animation, that’s really my country.
Then you have “Winter Warning” coming out.
Yes, the twelfth book in the series. It may be the last but at least we’ve completed the series. As you know, the main character ends up becoming president of the United States. He’s a Trump-like character. In his case, he’s a Trump of the left, rather than of the right.
Do you think that Donald Trump would make an interesting character to write about or are the people working for him more interesting?
I really don’t know. He’s a phenomenon we never thought would have happened, coming out of reality television. The country has changed so much that now a television star can become president and there will probably be other television star presidents. Say what you will about him, but he was able to speak to the American people in a way that the other candidate could not, except maybe Bernie Sanders.
I hope we may see a re-issue of “Panna Maria.”
Yes, everything in its time. If you shove to hard, you lose everything. You have to see it within its own sequence. If “Family Man” works, then everything else will work.
Things need time to breathe.
Yes. Right now, I’m working on a sequel to “Little Tulip.” I have a wonderful Belgian editor. And we’re at work on a graphic novel of Charlemagne.
It’s great how you rekindled your relationship with François Boucq.
That was through this editor. François Boucq had moved from Casterman to Le Lombard. And that editor, at Le Lombard, said that he grew up on “Billy Budd, KGB” and wanted us to work together again. Let’s say it was my stupidity that had led to our falling out. It was a pity since we could have done wonderful work all this time.
That was through this editor. François Boucq had moved from Casterman to Le Lombard. And that editor, at Le Lombard, said that he grew up on “Billy Budd, KGB” and wanted us to work together again. Let’s say it was my stupidity that had led to our falling out. It was a pity since we could have done wonderful work all this time.
And I look forward to the “Hard Apple” animated series. That’s being put together by Tomer and Asaf Hanuka, who created art for the animated movie “Waltz With Bashir.” They’re twins. One does covers for The New Yorker. It’s going to be a wonderful animated series. It’s a chance to do something that’s never been done before.
It would be great to pick up the thread again sometime, especially leading up to the next, perhaps last, Isaac Sidel book.
As you can see the discussion is endless: the relationship between comics and novels, the whole notion of graphic art, the notion of narrative in every form, we could be talking for days.
Your book, “Movieland,” there’s an hour of conversation right there.
Exactly. You should pick up a copy of “Metropolis,” my book on New York, when you get a chance.
I really appreciate your interest. And we’ll talk again.
Thank you for your time.
“Winter Warning,” Book 12 in the Isaac Sidel crime novel series.
Click the link below to listen to the podcast interview right here.
Be sure to visit the Jerome Charyn website here. And be sure to check out the FAMILY MAN graphic novel Kickstarter campaign, running thru May 21st, right here.
I have been reading a lot of work by Jerome Charyn lately. Once you start, it is hard to resist more. Charyn has this passion for seeking the truth that is very seductive. In the case of his latest novel, “Jerzy,” published this March by Bellevue Literary Press, he is compelled to better understand Jerzy Kosinski, author of the celebrated 1965 novel, “The Painted Bird.” It is a fascinating, and often funny, journey written by one of our greatest writers about the rise and fall of another great writer.
Actor Peter Sellers looms large over the book that follows the making of 1979’s “Being There,” the film adaptation of Kosinski’s novel, starring Sellers as the blank slate turned celebrity, Chauncey Gardiner. In Charyn’s novel, Sellers is not much more than a lost man-child, a blank slate in his own right. Sellers hires Ian, a former bodyguard with a taste for literature, to be his all-around wingman. If there is anything Sellers needs in the way of protection or advice on dinner conversation, Ian must step in.
It is not long before Sellers enlists Ian in his quest to have Kosinski agree to have Sellers star in the movie version of “Being There.” It is hardly a walk in the park as Kosinski detests Sellers. Sellers perpetually complicates matters. He is convinced that Princess Margaret fancies him and that he will marry her. And Kosinski is equally complicated. At the most random moments, something will trigger a dark mood and a longwinded rant.
As is made clear, the vacuous Sellers is tailor-made for the role of Chauncey. And Kosinski has very little to complain about, despite his tremendous resistance to Sellers. But the conflict in this novel is far more deep-seated and sinister. Charyn suggests that Sellers and Kosinski have paid too high a price for fame, have been reduced to mere shells of their former selves; and in Charyn’s hands, both become compelling tragi-comic figures.
It is Kosinski who stands in for a great deal of unresolved issues, including World War II and its aftermath. In his novel, “The Painted Bird,” Kosinski challenges the reader to confront great suffering and atrocities. For such a compelling testament, Kosinski would, over time, secure fame. For Charyn, Kosinski is that large-than-life enigmatic Citizen Kane. The harder they come, Charyn concludes, the harder they fall. Charyn plays with the mixed bag of rumors of plagiarism that haunted Kosinski. Today, in a different context, the same techniques of borrowing from other sources would not raise eyebrows. “The Painted Bird” was a novel, not a memoir. Truth is stranger than fiction. And, as Kosinski said himself, “I am a truth, not facts.”
Charyn seems to take Kosinski to task at every turn. He seems to make a mockery of tender scenes in “The Painted Bird” and recollections from Kosinski friends and associates. In Charyn’s novel, Kosinski, like the villagers in “The Painted Bird,” is fascinated to utter distraction with turning old tin cans into homemade flying rockets. Kosinski, also in Charyn’s novel, prefers to sleep inside a large dresser drawer. Kosinski explains that he’s made too many enemies and his life is constantly in danger. However, Charyn is sensitive to life’s contradictions, no matter what misinformation Kosinski detractors may spread. Such work as “The Painted Bird” speaks for itself. In the excerpt below from Charyn’s novel, Ian, the narrator, concludes that Kosinski did not have ghostwriters but those who helped him, up to a point, with his English:
No baby-sitter from here to Mars could have scratched out the icicle-covered sentences in “The Painted Bird.” And after rereading the book for the sixth or seventh time, I realized that suicide was built into its very fabric, as if the narrator were locked into some kind of frozen grief, and had survived the war on fierce will alone. His entire life had become a chess move or chapters pasted onto “The Painted Bird.” Perhaps fate itself was a Russian doll. And Jurek’s leap into the darkness was another matryoshka, a doll without end.
It was a great deal of bile and misinformation from Kosinski detractors that contributed to Kosinski’s suicide in 1991 at the age of 57. And perhaps it was also part of fate. Anyone familiar with the work of Jerome Charyn knows that he’s most interested in the underdog, the person trapped in a corner fighting to find a way out. As the novel progresses, we see how the life and times of Jerzy Kosinski, the truth and the legend, all add up to a subject worthy of Charyn’s fiction.
What Charyn’s novel can do, with its brilliant satirical bite, is compel readers to learn more about Jerzy Kosinski, one of the great writers of the 20th century. It’s as easy as surfing the net to learn more. If you watch the documentary below, for example, you get a multifaceted look at Kosinski, his life and his work. It’s not a simple story, as Charyn’s novel attests. Truth is stranger than fiction and fiction seeks a greater truth:
“Jerzy” is a 240-page paperback, published by Bellevue Literary Press. For more information, and how to purchase, go right here.
The story begins in New York City…one hour into the future. Crime runs rampant, rogue cops patrol the rubble-strewn streets, predatory gangs steal anything that isn’t nailed down, and the once powerful mafia dons cower in fear in their tenement prisons. Someone is killing the mob chieftains one by one, and the last survivors call on Alonzo, The Family Man, to hunt down the murderer. But it won’t be easy – not when Alonzo’s own brother Charles, the gun-toting Monsignor of the corruption-ridden New York City police department, is a prime suspect.
Full page of original art by Joe Staton
Jerome Charyn (The Magician’s Wife) is one of my favorite writers. He is a one-of-a-kind visionary. Charyn has worked with some of the best cartoonists in the world and his work with Joe Staton (Dick Tracy) is no exception. Take a look at the examples in this post and it will give you a taste of the hard-boiled, multi-layered tale that is FAMILY MAN. A Kickstarter campaign is on now thru May 21st in support of releasing, for the first time, a collected graphic novel of this classic work. Visit it right here.
Jerome Charyn & Joe Staton
This is a project that Mr. Charyn and Mr. Staton worked on in 1994, during the heyday of Paradox Press, an imprint of DC Comics. Take a closer look at the artwork and marvel over the distinctive shading made possible with the Craft Tint duotone process. These special bristol boards were coated with shading underneath the surface. The artist exposed the shading as needed. Back in 1994, FAMILY MAN ended up as a three-part comic book series of 96-pages each. Thanks to IT’S ALIVE! Press, this stunning work of comics can now be given the best possible presentation as a graphic novel. That includes displaying each page as it originally appeared on the art board
Close-up view of Joe Staton artwork
I really can’t say enough about the remarkable talent of novelist Jerome Charyn. We will pursue that further in subsequent posts. What I’ll say now is that he was way ahead of his time, at least in American circles, by taking his literary skills to the comics medium. In Europe, for example, that has been well understood for decades. In America, we’ve had time to catch up. If you read a Charyn work in comics, you are treated to a vast world of intrigue with characters that will get under your skin. For FAMILY MAN, Charyn and Staton serve up a nice pulpy noir tale set in New York City “one hour into the future.” It is a story about two brothers on separate sides of the law caught in a dystopia they understand all too well and which will pit them in a bloody conflict.
It’s not too late to join in and reserve your copy of FAMILY MAN. This is a wonderful opportunity to own a shining example of comics at its best. Check out the Kickstarter and learn more about rewards, including original art by Joe Staton, right here.
LITTLE TULIP, a graphic novel recently reissued by Dover Publications, by Jerome Charyn and François Boucq, is definitely not something that is cooked up overnight. No, on the contrary, like anything worthwhile, this is a work that is carefully constructed with meticulous precision. It only looks effortless, and it is the sort of comics that I prefer.
Paul, the master, teaches Azami, the apprentice.
This graphic novel immerses the reader in Soviet prison tattoo culture. Within the Russian underground community, these unique tattoos formed a service record of a criminal’s transgressions. Skulls denoted a criminal authority. A cat represented a thief. And, in the case of our story, a tulip represented a young person joining the ranks of a gang. Today, these same tattoos have become fashion statements because of their mystery and fierce beauty. They were, then and now, a way to step beyond the ordinary. For our main character, Paul, they were also a way to step beyond the horrors of the gulag.
Page from LITTLE TULIP: New York City, 1970
Our present setting is New York City, 1970. There is a serial killer on the loose. Paul runs his own tattoo shop and is also a police sketch artist. His work with the police is more than just a gig but a calling, a way to seek justice. Not only does Paul have that uncanny ability to render a likeness based upon a witness’s verbal description, he also has a sixth sense about criminals. He will often act as a medium for hard to crack cases. There may be honor among thieves but, for Paul, there are crimes that compel no mercy.
Paul came from an American family that chose to live in Moscow for a while. The timing could not have been worse since this was the 1950s during the reign of Stalin and the secret police. One misunderstanding too many and the whole family gets shipped off to Siberia where they are immediately separated into a gulag. But, just as all hope may be lost, Paul, now Pavel, has inherited from his father an artistic sensibility that will help him endure the worst.
Page from LITTLE TULIP: Train Trip to Siberia
This is a story as much about one man’s journey among hardened criminals as it is a story about how life and art commingle, how art can save one’s soul. This is a multi-layered masterpiece of a script by renowned writer Jerome Charyn; and a breathtaking, bold, and completely enthralling work of art by renowned artist François Boucq. The structure of this graphic novel is just impeccable: a story told at a easy and natural pace with room enough for metaphysical musings.
More more details on LITTLE TULIP, and how to purchase, visit Dover Publications right here.
Wren McDonald is a cartoonist and illustrator. His illustrations appear in The New York Times, The New Yorker, GQ, The Washington Post, The Hollywood Reporter, and many other places. His first full-length graphic novel, a quirky cyberpunk thriller, “SP4RX,” was recently published by Nobrow Press.
If you are in the New York City metro area this weekend, you can see Wren at Comic Arts Brooklyn. CAB is taking place this weekend with the main event this Saturday, November 5th, at Mt. Carmel Gymnasium, 12 Havemeyer Street, from 11am to 7pm, in beautiful Brooklyn! You can find Wren at CAB, downstairs at Table D31.
Wren McDonald has shot like a rocket since graduating from Ringling College of Art and Design in 2013. Wren has a refreshing take on both comics and illustrations: a rare set of skills, talent, passion, and drive. So, without further ado, here is my interview with Wren McDonald, recorded this Wednesday, as he prepares for Comic Arts Brooklyn.
HENRY CHAMBERLAIN: Wren, if we were to do a virtual tour of your studio, what would we find there?
WREN McDONALD: Well, my studio is my bedroom. So, here’s my bed and here’s my desk. That’s my studio! (Laughter)
That’s the set of circumstances for a lot of cartoonists and illustrators, isn’t it?
Yeah, especially living in New York. It just doesn’t make much financial sense to have a separate studio. But I have plenty of room here. It’s pretty spacious. I can spread out and get my work done. I have a super big desk and an iMac. And I actually have (laughs) the extended studio in the living room! There I have a Lasergraph copier where I print out my mini-comics and zines.
That’s for serious cartoonists.
“Did Trump and Clinton Get a Pass on Education?” illustration for The New Yorker by Wren McDonald
I direct folks who are new to your work to go to your website, wrenmcdonald.com. There you will find a cornucopia of stuff. I’m focusing on one of your current illustrations of Trump and Clinton and they are both sitting in a classroom. These two are hyperreal, larger-than-life, cartoonish. You can’t make them up. Could you give us a window into how you created that illustration?
That illustration was funny because I got the assignment the day before it was due, which was also the day before I was traveling to MICE Expo in Boston, a comics show that I was just at this last weekend. That was like a super rush job which was really intense. The art director at The New Yorker, Rina Kushnir, who is super great, I work with her a lot, she emailed me the article. She said it was last minute but she asked if I could do it. And I said, yes, of course.
Rina needed sketches in the morning and then the final that evening, around 5pm or 6pm. So, that morning, I sent in like four sketches. They were sort of goofy and funny. Like you say, these candidates are already cartoony so it’s easy to characterize them. Rina chose the one she liked. That was at noon. From that point, I got to work on the final and sent it over in the evening.
Those jobs are always pretty stressful but I enjoy doing them a lot because I feel that I work really hard and get a real day’s work in and have something to show for it.
It’s a beautiful illustration.
I wanted to ask you about your evolving into the illustrator you are today. Your work is appearing everywhere. Only a few years ago you were in Florida just starting out. Could you give us the cook’s tour of how you got where you are today.
Sure, I graduated from Ringling College of Art and Design, which is in Sarasota, Florida, in 2013. When I was in school, I had a website and was posting things on social media, like Tumblr, and I think that helped me get my feet off the ground in terms of people seeing my work.
From that point, I started going to comics shows like TCAF in Toronto, Comic Arts Brooklyn, and MoCCA. I tabled at TCAF and other shows I would just go to. I’d have mini-comics to give out to help make people aware of me. It’s two different paths, comics and illustration, so I’ll talk about them separately.
The illustration stuff is, like I say, social media and tracking down email contacts and networking. And a lot of promotional stuff. You want to create a portfolio that really looks like editorial illustration. Editorial work has a snowball effect. You start to get jobs and you’re seen as a professional.
CYBER REALM by Wren McDonald
The comics stuff is going to shows and socializing. I was approached by Peow! Studio, based in Sweden, about publishing one of my short stories in of one of their anthologies, “Time Capsule.” I thought that was super cool since I was familiar with their work. I was super excited. I think that was the first comics story that I had published out in the world besides my own stuff online, on Tumblr. Soon after that, I talked to Nobrow about doing a short story (CYBER REALM) for their 17×23 series which is a platform to try out new talent. That’s a small format, just 24 pages. We did that and enjoyed working together. So, Nobrow said they wanted to try something longer. That’s what I wanted to do so it worked out that way.
It’s amazing how quickly things came together. Did you already have an idea of what SP4RX was going to be like while you were working on CYBER REALM or did one work just follow the other?
I didn’t have one story cocked and loaded beforehand. I always hear other cartoonists, or writers, when they talk about their work, saying they had this story they’d been working on since they were 10 years-old and it’s part of an epic world they’ve created. I’m not one of those people. When I sit down to write a story it’s about brainstorming and anything that peaks my interest.
For SP4RX, I’ve always been interested in the cyberpunk genre, especially movies and comics. I wanted to work in that genre. I was already creating work dealing with technology, robots, and dystopian settings. I think it just made a lot of sense to me.
We’re always hearing about the digital versus the physical. I direct people to the comic you did for The Comics Journal. How did that come about?
I’m not sure if Nobrow contacted The Comics Journal, or the other way around, but The Comics Journal approached me about doing one of their A Cartoonist Diary columns. I was all for it since I have the attitude of wanting to try something out and make it work. I had not done diary comics before so I had to think about how to do this. Mine is not a traditional diary comic since it has these fantastical elements to it. Despite it being involved with things I was experiencing, the more apt title to it turned out to be “Not A Cartoonist Diary.” That was a fun project.
Over the years, illustration is deemed dead and then it comes right back. It all runs in cycles. You’re firmly in both the world of comics and illustrations. Some cartoonists, I know, have never printed mini-comics nor done the comic fest circuit. But you love that.
Right! I love making comics, reading comics, and telling stories. I am passionate about my comics work because I am able to draw what I want to draw. Illustration is a fun back and forth since it involves work that I would not necessarily choose to draw: it’s more like a puzzle. Okay, how do I use these images to convey a specific idea, very concisely, to pair with the article? It’s a fun back and forth. Maybe I’ve been working on comics for two weeks straight, and then I get an editorial assignment. That’s great, I can take a break from comics and do an illustration, take a break from having my face too close to the page and switch my train of thought–and vice versa.
SP4RX by Wren McDonald
If we were just chatting, we’d end up talking about books and movies, especially science fiction and cyberpunk. I imagine that “Videodrome” must be a favorite for you.
I do love “Videodrome.” David Cronenberg is amazing but I don’t think that “Videodrome” had a specific influence on SP4RX. Instead, concerning SP4RX, I had just read William Gibson’s “Neuromancer,” which I thought was like the coolest book ever. It is considered “cool.” I wanted to make something “super cool” like that! I’d always been into “Akira” by Katsuhiro Otomo. And “Ghost in the Shell” by Masamune Shirow and his Appleseed series. And movies like Paul Verhoeven’s “Total Recall” or “Robocop.” Or James Cameron’s “Terminator II.” “The Matrix.” “Aliens.” Stuff like that. I wanted to do something in the vein of that genre.
Let’s focus back on SP4RX: a super hacker going up against corporate enslavement. How close are we today to corporate enslavement?
There’s a lot of parallels that I was drawing from. Basic stuff that I’d see on the news. Even just going about my day-to-day, going shopping or whatever, that would end up in SP4RX. It’s a world with hover cars and sci-fi elements but there are plenty of parallels to our real world throughout. For example, I’d be watching some crazy video on YouTube with one newscaster harassing another newscaster and I would basically copy and paste that into the book. Within a sci-fi setting, you can focus on the human element. You don’t get caught up in a specific nation or political agenda. It’s just people in this science fiction world.
Everyone may not get a hover car but we’ve got plenty of the weird and nefarious stuff already. What do you think about Edward Snowden and us being monitored? The future is here.
Yeah, it makes me think that the cyberpunk genre and movement is more relevant than ever. When the internet was first coming about, that genre seemed so cheesy. It’s fun to laugh about it but there’s so much of it that’s relevant. Like you say, that NSA stuff is really happening. It’s important to pay attention to that and be aware.
Panel excerpt from SP4RX
Is there anything you’d like folks to know about that you are currently doing?
It depends upon when you think this post will go up. There’s Comic Arts Brooklyn this weekend.
I can push things up and get this out by Friday. I’d love to go to CAB. I have my own book I’m working on that is very much science fiction oriented. It’s about the science fiction writer George Clayton Johnson. His career and life’s journey has a very intriguing arc. He began with writing the story for the Rat Pack classic, “Ocean’s Eleven” and crescendoed with co-writing the novel that was the basis for the cult classic, “Logan’s Run.”
Oh, yeah, that movie has a nice sci-fi cheesy quality.
Well, the thing with George was that he kept to his set of values and the integrity of his storytelling. “Logan’s Run” is an example of a big studio having its own ideas on what the story should be. It’s totally fun though and I think a remake would be great. The original novel is very different. I think you’d enjoy it.
I will check it out.
Comic Arts Brooklyn
But getting back to CAB.
Yes, I will be at Comic Arts Brooklyn this Saturday, November 5th. You can find me downstairs at Table D31. So, come by and say hello! And I have a new mini-comic that will debut at CAB and then be available on my site which is called, “Dirt Dart,” a 12-page story about a soldier lost on another planet.
Well, it’s been fun talking with you, Wren. I know that you’re having the time of your life.
Yes, staying busy!
Thanks so much, Wren.
Thank you, Henry. When you’re in New York, stop by and we can have a drink.
You can listen to the interview by clicking the link below. I did not make any edits so you’ll pick up on some slight differences from the transcription which is a smoother read. One thing to mention here is that I was not aware of the title, SP4RX, being pronounced “Sparks.” I must have been firmly in the mindset of George Lucas and his 1971 classic, THX 1138:
SP4RX is out now. Find it at Nobrow Press right here. Visit Wren McDonald right here. And, if you are in the New York City metro area, be sure to visit Comic Arts Brooklyn this weekend. Visit CAB right here.
Jerome Charyn is one of our great American writers. I had the pleasure to review, “The Magician’s Wife,” a graphic novel illustrated by François Boucq and written by Jerome Charyn. Thanks to Dover Graphic Novels, a number of lost gems are finding their way back into print. For this review, we look at “The Boys of Sheriff Street,” illustrated by Jacques de Loustal and written by Jerome Charyn. This is a beautifully tragic love story–at an exquisitely high level of artistry.
Ida, ready to devour the world.
Graphic novels are not always what some people may expect, not even aspiring cartoonists. One misconception is that they need to be unruly massive things which, outside of manga, is more the exception than the norm. While there are no set rules to this, a book that clocks in at roughly 100 pages is very likely to make for a satisfying experience. And so it is with this book which is 80 pages. That’s perhaps more of a European standard–but it works so well. Consider this work quite the treat with its theatrical and painterly flourish.
The emperor has returned.
Our story revolves around twin brothers Max and Morris. This is New York City’s underworld during the 1930s, on the Lower East Side. And Max and Morris belong to the Sheriff Street gang. Morris is tall and jovial. Max is the brains and the head of the operation. He is shorter and has a hunchback. The dynamic between the two brothers, and the whole gang for that matter, is severely tested when Morris introduces everyone to Ida, his new love and fiancé. This proves to be a fascinating study in character. Is Ida really a femme fatale or is she simply trying to assert her position as best she can?
The size and scope of Charyn’s story leaves me thinking of what a great movie it could make. That said, everything adds up to a perfect graphic novel. Loustal has created a fully realized world that the characters smoothly move through. This all works flawlessly as classic tragedy with a noir bite. At any point, Max, Morris, and even Ida, could prevent the inevitable. But sometimes blood must spill no matter how careful the players.
“The Boys of Sheriff Street,” by Jerome Charyn and Jacques de Loustal
“The Boys of Sheriff Street,” by Jerome Charyn and Jacques de Loustal, is an 80-page full color trade paperback, published by Dover Publications. You can find it at Amazon right here.