Somebody Feed Phil the Book. by Phil Rosenthal and Jenn Garbee. Simon & Schuster. New York. 2022. 352 pp. $32.50
What is not to like about Somebody Feed Phil the Book? It’s the series come to life! If you are a fan of the food and travel show, created and hosted by Phil Rosenthal, well, this is the essential companion piece. Maybe you’re like me and you’ve viewed all the episodes on Netflix and occasionally still go back to some of your favorites. Totally fine. I’m not judging. I’ll go you one better and confess that I was an early adopter to the series and got my better half hooked on it. After that, we went back and picked clean the original PBS series, also created by Phil. Finally, we went back to other stuff related to Phil, chiefly the comedy classic sitcom, Everybody Loves Raymond, the show that Phil Rosenthal created and wrote for and firmly established him in the first place. I wonder, does this not ring any bells for anyone? I sense there was a time when Phil was more under the radar and now it really seems that, dare I say, Everybody Loves Phil!
The first thing I did was go through the table of contents and see which cities made the cut. I was surprised not to see Paris or Florence. But I was happy to see that New York and London, among others, did make the cut. Here’s the thing, for fans of the show, this is really special and that sense of the special should carry over quite well to just about anyone. What you get is a genuinely delightful host, who cherishes and features his loved ones on the show, provides numerous heart-felt and useful bits of insights on travel and, last but not least, pays tribute to a favorite subject of mine, food. It’s like the whole show in your pocket, or your kitchen table. And you get all these recipes! I keep rediscovering my love for good cookbooks when I am presented with a book such as this that is following a theme (in this case, it is predominantly a theme of adventure and appreciation). Thanks to this book, I can honestly say, I’m seriously looking at traveling to Thailand. The first city featured in the series, and the book, is Bangkok and it’s Phil’s unbridled love for the food and culture that has completely won me over.
And so I dove in and went for it. No, not the travel part yet. I dove in and followed the recipe for Khao Soi, which Phil admitted to being his favorite dish, or pretty darn close to it. So, yeah, I fired up the test kitchen and we had ourselves quite a feast. I learned so much from that experience. I think it comes down to always being mindful of how much you get back when you make that extra effort. Now, this dish did seem to require some patience but, overall, it’s so much fun to make, relatively easy and lends itself to so many variations. Basically, you need meat, noodles, some chili paste, coconut milk and the rest of the ingredients just fall into place. Yes, the recipes are solid. You could live off the recipes in this book.
Again, the ability to enjoy the series in a different format is priceless. Of course, it was inevitable that I’d go to my favorite episode, the one devoted to New York City. Hands down, this is a city made up of restaurant customers of one kind or another, whether nondescript or celebrated, from the most humble to the most fancy. Pizza, of course, gets a lot of attention. And then there is one quintessential delight in particular, the noble Egg Cream, an utterly simple drink made up of chocolate syrup, seltzer and milk. But there are essential details. Aim for about equal parts to each ingredient and serve in a chilled glass. The syrup needs to be Fox’s U-Bet. And the way the drink is mixed can cause great debate. It’s Phil’s intense interest in culture and food that inspired me to create my own tribute to the egg cream. Perhaps I digress a bit but it’s all worth noting and, from what I’ve seen, this is definitely Phil’s favorite treat.
The whole point of the show is to celebrate your favorite foods but then go beyond your comfort zone. Travel! See the world. That’s what life is all about: mixing and mingling with folks from different cultures. Phil has proven time and time again to be an excellent host, an all-time great evangelist on adventurous eating and traveling. In many ways, this book is his life’s work. He’d laugh–but he’d also nod and give you one of his goofy, and worldly-wise, smiles.
I want to talk about the Whitney Biennial with you. Let’s talk Whitney and let’s see why you should make it over there if at all possible. Have you gone? Do you plan to go? The last day is September 5th! I recently got a chance to see it and I’m still processing! This is just a quick teaser. In a forthcoming post, I’ll cover some of the history behind this New York treasure, a must-see showcase of contemporary art, and then we’ll just take a casual and straightforward look: some art will seem to defy easy access; and some will invite immediate engagement. Take a look at the above sculpture by Charles Ray, for example, it’s all there right away while holding back some secrets. Who is the figure lounging upon a block? It seems that a piece like this is about being transparent as well as being ambiguous, inspiring all sorts of questions.
Titled Quiet as It’s Kept, the 2022 Biennial features an intergenerational and interdisciplinary group of sixty-three artists and collectives whose dynamic works reflect the challenges, complexities, and possibilities of the American experience today. The Whitney Biennial 2022 runs from April 6, 2022 to September 5, 2022.
It’s a long way through from The Elm to The Big Apple, and it’s not only the title to a collection of artwork by Raheem Nelson but a landmark in an exciting art career. As a kid, Nelson took a long commute from his home in New Haven, Connecticut, nicknamed, “The Elm City,” to the School of Visual Arts in New York City. In order to save money on the expensive room & board on campus, Nelson had to take a long and arduous commute, leaving him with little room for sleep. But grit and determination have a way of paying off if you’re persistent. Raheem Nelson is such a person. Take a look at his art and you see what he sees: a urban landscape that can, despite the odds and the rough times, sustain a sense of wonder. Yes, wonder. And, I have news for you, style too! You gotta have plenty of style. I don’t care if it involves basic stick figures. If it lacks a sense of purpose, then why bother, right? Nelson has stuck it through and has excelled in carving out a niche for himself as an artist with a specialty for paintings rendered on the iPad. And his work, by the way, definitely has style.
Raheem Nelson is a hard-working artist. He teaches high school, elementary and middle school students, as well as conducts adult workshops. I was introduced to his inspiring iPad Painting workshop through the online courses offered by Arts Alliance of Stratford. Nelson has proven to be a favorite son of the community not only for his teaching but for his vibrant artwork that has lifted up locals. Recently, some of his portraits were turned into a mural to honor the Arts For Labor program for the International Festival of Arts and Ideas.
So, I invite you to check out the video interview. For those who have read this far, let me encourage you now to stick around for a special art demonstration. Nelson provides a wonderful sample here of the insights he has to share from his experience with not only the iPad but also from his background in traditional painting.
Ah, but there’s more. For loyal and curious readers, you have just unlocked one more door to art goodness. Check out Nelson’s website and you’ll find a treasure trove of art print options along with NFT art too. In this interview, Nelson provides in-depth profiles on some of his most popular works being sold as NFTs.
Cinema is one of the great pleasures in life. If you love good movies, then you will be delighted with the lineup for the Turner Classic Movies Film Festival (May 6-9 2021). This post will point you in the right direction as well as provide an added bonus. One of the titles featured during the festival is 1996’s Nichols and May: Take Two. I had the honor of interviewing Mark Harris, author of the New York Times Bestseller, Mike Nichols: A Life. I hope you enjoy our chat and be sure to catch all the great movies during the festival. During our conversation, I tried to fit in as much as possible regarding Mike Nichols (1931-2014), such a iconic figure in the world of improv comedy, theater and film known for such landmark films as Who’s Afraid of Virginia Woolf? (1966), Catch-22 (1970), and Carnal Knowledge (1971). And those three titles are just scratching the surface!
Harris first got to know Nichols during his work adapting Tony Kushner’s landmark play, Angels in America. By then, Nichols was in his seventies and a master of his craft many times over. During our talk, Harris noted: “It is remarkable to me how Nichols kept looking outward during a production, while the meter was still running, finding ways to construct and to add.” As for what might be said in describing Nichols’s body of work, Harris said it wasn’t a matter of maintaining a thematic structure. It was really more down to earth. “It was about finding what excited Nichols to pursue a project: a script, a collaboration, a writer, an actor.”
NICHOLS AND MAY: TAKE TWO (1996): TCM premiere of this documentary about the influential comedy team of Mike Nichols and Elaine May. Four of their radio sketches have been re-created with new animation created especially for the program.
Includes conversation with author Mark Harris, Mike Nichols: A Life.
SATURDAY, MAY 8 11:45AM ET
Thursday, May 6 through Sunday, May 9 at two virtual venues: the TCM network and the Classics Curated by TCM Hub on HBO Max.
To learn more, go to the TCM Film Festival site right here. You’ll discover a unique film festival experience on TCM.
1956: Sweet Sweet Little Ramona. by Steve Lafler. Cat-Head Comics. 2020, 56pp. $9.95
Adorable Ramona is sweet down to her toes. She also happens to be a guy. But, hey, no problem there say the fellas from the Garment District. Ramon, as Ramona, is just so delightful. So, no problem. Nobody’s perfect! That’s the punchline to 1959’s Some Like it Hot, by the way. The artist and writer Steve Lafler doesn’t actually use that line. In fact, his graphic novel is completely different from what goes on in the Billy Wilder classic. That said, there are definitely some similar elements at play. And perhaps the biggest theme is one recurring in just about every Lalfer book, that of music, specifically jazz, hot jazz! Since, after all, some do indeed like it hot!
Now, Steve Lafler turns out to be a very cool cat–and we’re about to take a deep dive into all things Lafler. Well, as much as I see fit to shoe-horn into this review. We’ll save some more for an interview with Steve Lafler next week. That sounds good, no? Lafler’s latest book, 1956, features a whole tableaux of goodfella types, all of them working various middle management jobs in the Garment biz, an industry with just enough of a glimmer of glamour to be suitable for these big city gentlemen. Lafler mixes the whimsical with the gritty. His style is clean lines in the service of a loose and street smart sensibility that brings to mind such greats as the Hernandez brothers and Kim Deitch. It’s quirky, idiosyncratic, and very much alt-comics. But that only makes sense since alternative comics are very much a part of Lafler’s scene. 1956 proves to be an utter delight.
The one thing I have come to understand from reading Lafler comics is that this is one devil-may-care dude who knows how to dish it out a la bohemian. I envy the ease with which he seems to glide through life. Maybe it takes one to know one. I know it’s not all peaches and cream. That’s part of the point. It’s about making the most of what you’ve got, living by your wits, and not taking anything so seriously that it hurts– except for family. You look out for your loved ones, right? Why do I digress so? I think Lafler just puts me in a very irreverent mood.
Now, take some of his other work and you’ll start to see some patterns. You’ll see that jazz motif bebop around. You’ll see some hard luck hound dogs–or bugs. And you’ll definitely see a lot of that joie de vivre thing we all want some of. You find it all wrapped in a bow in Lafler’s BugHouse, albeit tinged with the harsh realities of life in the big city. Yes, these bugs play a lot of jazz but they’re also prone to drug addiction. Sad bittersweet bugs.
A more recent Lafler work is Death Plays a Mean Harmonica. I find this to be quite a masterpiece incorporating a healthy dose of auto-bio mixed in with everything that Lafler has learned about the uncanny world of comics. Lafler takes his own family’s decade living abroad in Oaxaca, Mexico, and turns it into the misadventures of Rex and Gertie and their two young children. Lafler let’s the good times roll with plenty of magical realism which includes a skeleton who regulars meets with Lafler while he’s asleep. They philosophize and, of course, enjoy playing music together. This serves as background for the main event. It turns out that Gertie is a secret superhero by night! Lots of fun! Bravo!
For more information, including comics, illustrations, paintings, and various merchandise, be sure to visit Steve Lafler.
We can all only hazard a guess if we’re asked to imagine a post-covid crisis world. COVID-19 will ultimately settle into whatever a virus like this does. Can we contain it, for all intents and purposes, like polio? Probably so, in due time. The question now is how long will this Age of Covid last? All the disruption: and all the anxiety over uncertainty. We wear masks and practice social distancing while wild animals emerge and fill the void. For all of us fortunate enough to be able to draw, write or do something else productive, we must remain grateful and patient. So, I share with you a recent drawing I did as I go about my process of reflecting and resetting. Sure, I’ll post more. It’s healing to express one’s concerns. Trying to add a bit of the whimsical is not easy. I don’t even know if I was trying to be whimsical with this piece. Life will, and must go on, amid death. Hope will, and must, prevail over despair. These are strange times but we need to remain calm, respect everyone on the front lines, and keep working towards the future.
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.
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.
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.
The French Comics Association brings together many of the major publishers of French comics, including Dargaud, Casterman, Delcourt, Dupuis, Gallimard BD, Glénat, Le Lombard, Rue de Sèvres, and Soleil. As part of its mission to promote Franco-Belgian comics in the United States and worldwide, the association aims to promote comics translated into English, to support the U.S. publishing industry, and to stimulate cultural exchanges on the basis of literature and visual narratives.
The French Comics Association is supported by the Centre National du Livre, the Bureau International de l’Édition Française, the Syndicat National de l’Édition and the Cultural Services of the French Embassy in the U.S.
I was recently in New York and had the pleasure of interviewing Karen Green, the Curator for Comics and Cartoons for the Columbia University Libraries which collect both graphic novels for the circulating collection in the Butler Library stacks and also creator archives in the Rare Book & Manuscript Library. The interview was a great treat and I share it with you here. Afterwards, I got a chance to go on my own and explore the stacks at Butler Library. The vast collection that Karen Green has helped to put together really lends itself to this sort of intimate hands-on exploration in real time and students in all disciplines are welcome to come explore for themselves. For more information, on Comics in the Columbia Libraries, go right here. I include here some photos of some of my discoveries exploring the stacks.
The Columbia University Libraries collect both graphic novels for the circulating collection in the Butler Library stacks and also creator archives in the Rare Book & Manuscript Library. The circulating collection launched in 2005, when the libraries held three titles, and by the end of 2015 the collection featured roughly 10,000 titles in over two dozen languages. The archival collections, which already contained disparate comics holdings, launched in earnest in 2011, with the acquisition of writer Chris Claremont‘s papers.
The circulating holdings contain a diverse collection, with mainstream and alternative titles, archival reprints, independent comics, Kickstarter projects, and other content. These materials have been used in courses from East Asian Languages and Cultures, to English and Comparative Literature, to Narrative Medicine, and have been featured in the American Studies course “The American Graphic Novel.” Students have used the collection for term papers, senior theses, and M.A. essays.
We had a brief and informal chat after Karen provided me with a tour of the comics collection in Butler Library. Back at her office, Karen shared with me a syllabus for an upcoming summer class she will be teaching. The proposed reading list and schedule includes Doctor Fate, with guest speaker Paul Levitz; All the Answers, with guest speaker Michael Kupperman; Bad Girls, with guest speaker Alex De Campi; and Prince of Cats, with guest speaker Ronald Wimberly.
Lastly, just to demonstrate how easy it is to roll into a tangent when you’re surrounded by such treasures, I couldn’t help but spend some time observing the current show in Kempner Gallery at Butler Library. It is entitled, Remaking the World, and it relates to important issues after World War I. I happen to have rested my eyes on a political cartoon on women’s suffrage in the United States. The cartoonist is Kenneth Russell Chamberlain. Any relation to me? Well, I’m not sure. I don’t think so but I’ll have to see to make sure. Even more uncanny to my possible connection is just how relevant the cartoon is today! We’ve made so much progress but we certainly have great challenges still ahead of us to say the least.
HENRY CHAMBERLAIN: Please share with us how the Comics and Cartoon collection came about at Columbia.
KAREN GREEN: It was 2005. I had just rediscovered graphic novels after a 12-year hiatus and was frantically buying graphic novels to feed my fascination with what was going on. I hit up against the wall of a librarian’s salary and thought about how nice it would be to check out these graphic novels from my library. However, at that time, we only had three graphic novels: Maus, Persepolis, and Palestine. We had Maus because every library has Maus. We had Persepolis and Palestine because Edward Said, the great scholar of Orientalism, taught here and those titles were on his reading lists. So, I thought about ways to frame a proposal for graphic novels. I brought together the stakeholders who I thought would be most interested: our American Studies librarian, our Graphic Arts librarian, and our Fine Arts librarian. And I developed a three-fold argument. The first prong was: this is a field, a medium, that is getting increasing academic and critical acceptance. I was able to show them articles from peer-reviewed academic journals along with The New York Times and The New Yorker. The second prong: Columbia has a film school and a film studies program. Already in 2005, the connection between film and comics was pretty strong and obviously only stronger now. It made sense for those students to have access to this raw material. And the third prong was a little bit more sentimental. Columbia’s full name is Columbia University in the City of New York. New York City is where American comics were born. No academic institution in New York was systematically collecting comics in any form. So, I thought that these two New York City institutions, comics and Columbia, could profitably form a partnership and that we could be the place for these things to be collected in. I presented this argument to a group of my colleagues and they agreed and provided some funds. It was a small budget to start with and it’s a lot more now.
Why do you think it took so long for a comics collection to become part of Columbia?
I think, for the most part, in universities, libraries respond to the curriculum. In this case, I was creating a demand for the curriculum. My feeling was that this is an important area. I was getting to know more and more people who were scholars in this field of comics studies. I felt that if I built a collection and it started getting noticed by faculty and grad students, then coursework and research and learning would follow–and that has turned out to be the case.
Having this vast collection, do you see patterns in the graphic novels that you’re looking at?
What’s interesting in the medium is that the big genre in comics is really the same as the big genre in prose which is memoir. I teach a summer course…it used to be called “Comics as Literature,” which I inherited. I don’t teach it as literature since I see comics as a primarily visual medium. I teach it as “How to Read Comics” or “How to Read This Comics Language.” And, I was trying to teach it by genre as a nod to the English Department and, one year, one of my students pointed out that although I had varied subjects (journalism, war stories, social activism), they all turned out to be memoirs! I try now to very consciously make the reading list more diverse so that we have memoir, reportage, fiction, history, and biography.
I think the natural inclination for the creator is to do memoir. So they end up needing to make a concerted effort to break free from that.
Write what you know and what do you know better than yourself!
Even if you’re not writing about yourself, you end up writing about yourself.
What do you think is the typical young person’s approach to comics?
The course that I teach in the summer is mostly taken by our students in our School of General Studies, which is a school for returning students. They are not required to take as many of the courses as Columbia’s core curriculum. My course serves as a substitute for the foundational great literature course, Literature Humanities. Many of my students have never read comics or don’t know anything more than newspaper comic strips, if that. There’s another course that is taught here every other year, The American Graphic Novel. It is co-taught by one of our tenured faculty, Jeremy Dauber with Paul Levitz, the former president of D.C. Comics. That course gets huge enrollment from all the undergraduate schools and from some grad students. Jeremy and Paul go around on the first day of class and ask their students about their experience with comics. Maybe ten percent are dedicated comics fans. And, from that group, when asked what got them interested, they usually cite Batman: The Animated Series. I get a lot of students who tell me their gateway drug was Calvin and Hobbes. But I don’t get a lot of students who know the medium well and are reading longer more complex stories.
Let me see if I can get this question right. I’m wondering what you think makes for the ideal comics creator. I believe it is often a lone artist-writer. However, even when you have a writer and artist collaborating, ideally you would have both of them equally immersed in the literary and visual arts. That leads me to the definition of an alternative comics creator. How would you define that role?
Well, that would be anyone who is not working in mainstream superhero stories. What a broad category that is: from Lynda Barry, to Derf, to Ronald Wimberly. The certain notion of mainstream being the Big Two (Marvel and D.C.) with maybe Dark Horse and Image, although those two have creator owned work, to call that the mainstream (doesn’t take into account) the dozens of other publishers bringing out material, in addition to the Big Two. Every year, I buy a lot more non-superhero material than superhero material and not because I’m discriminating against it but because there’s a lot of stuff out there from all sorts of publishers, not just dedicated comics publishers. You have traditional publishers like Random House, Simon & Schuster, and Viking. You have academic presses that are publishing graphic novels, not just scholarship on graphic novels. So, I think “alternative” is becoming less of a useful term. I just call everyone “comics creators.” I try not to put them in pigeon holes. You have people like Dean Haspiel who do superhero material and who do their own stuff. You’ve got Kelly Sue DeConnick, who does superhero stuff and her own stuff. Those categories aren’t as useful since the field has become so broad and diverse. They’re just creators.
I don’t mean to digress but I do think it’s a certain mindset. You get someone like a Dean Haspiel and the Big Two want that certain flavor, a very specific way of seeing that comes from an indie cartoonist, that certain way of creating comics that comes from an alternative comics world. Then you consider that MoCCA, and other comics art festivals, are focusing only on alt-comics.
While something like Comic Con in San Diego is primarily about big money, the Big Two, and Hollywood.
But Comic Con in San Diego has a huge small press presence.
That’s true, they’re able to embrace everything.
You take a look at their Eisner Awards and they’re dominated by so-called “alternative” creators. But, take a look at Paul Levitz, “Mr. D.C. Comics,” who has written two graphic novels for Dark Horse and he’s working with two other smaller publishers…and it’s creator-owned stuff. Sonny Liew, Paul’s collaborator on Doctor Fate, he does work for D.C. and he does his own stuff: The Art of Charlie Chan Hock Chye, which won three Eisners. I just think that the alt-comics distinction has gotten so blurry. I think it’s a good thing to have creators dip their toes in different areas.
Well, I love that there’s a lot of gray area.
Yes! I love gray!
What graphic novels are popping up on your radar right now?
That brings me to my summer course and its reading list. For starters, I have Scott McCloud’s Understanding Comics right along with How To Read Nancy. We begin with wordless comics: Peter Kuper’s Sticks and Stones; and Eric Drooker’s Flood! I really enjoyed reading Black as Fuck. They’ll be reading that along with Ms. Marvel. Junji Ito’s horror comics are just mind-blowing. Ito’s Cat Diary: Yon & Mu brings takes his horror sensibility over to a story about his cats. Because I love European comics, I’m going to have them read (Dillies & Hautière’s) Abelard. There’s also Michael Kupperman’s All the Answers matched with David Mazzucchelli’s Asterios Polyp. I also have Fun Home and possibly My Favorite Thing is Monsters if we have time. We have Bad Girls by Alex De Campi and Victor Santos. There’s also My Friend Dammer and The Fifth Beatle. And I always end with Ronald Wimberly’s Prince of Cats. I try to get as many titles as I can in as many styles, genres and traditions. It can be disconcerting, if you’ve only read American comics to suddenly be reading manga so we go over how to read it and all the visual cues. Let’s see, what else am I reading. I just read David Small’s Home After Dark which I really loved. Black as Fuck, I think the art is beautiful. It’s a story about what the world would be like if only black people had super powers. In the past, we’ve read Onward Towards Our Noble Deaths by Shigeru Mizuki. Watchmen. Dark Knight. Those two because they’re been so influential. We’ve also read early Action Comics, Detective Comics, Wonder Woman, and Spider-Man. I kept coming back to Dark Knight because we’re so much living in Frank Miller’s world now where superheroes are concerned. But this year I’m going lighter as I focus on Doctor Fate and Ms. Marvel because I’m ready to get out of the dark.
Yeah, we’ve been in the dark for too long. It runs in cycles.
Nothing against it. The dark books are great to teach but it’s good to mix it up.
We’re in a golden age of acknowledgment of comics and graphic novels. Do you think we’ve reached the ideal level or is there still room to grow with more and more people aware of and talking about graphic novels?
I think there’s still a lot of room to grow. There was a tweet the other day about an elementary school teacher in Los Angeles who won’t allow graphic novels in his classroom which led one of his students to bring in her own graphic novels to lend out to her classmates. It’s so strange to me that there are still educators who are resistant to graphic novels. Comics have won national book awards. What it is that still needs to happen for comics to be accepted as part of our cultural landscape I honestly don’t know. Four cartoonists have won MacArthur Genius Awards. What needs to still happen, I just don’t know. But there’s definitely room to grow to achieve as broad an acceptance for comics as there is for film, fiction, and any other other art form.
We will leave it there. Thank you so much, Karen.
You’re very welcome, Henry.
That concludes my interview. I want to thank Karen Green for taking the time and sharing her thoughts on graphic novels in general and in an academic setting. Thanks to Karen, she set things in motion and, with the help from like-minded souls, she continues the good work on behalf of comics, cartoons and graphic novels at Columbia University in the City of New York.
“To finally have this collaboration between two giants available in a single volume is a gift for which we can only hope to be worthy.” — Howard Chaykin
Sometimes, a book is placed under my nose and I just can’t stop reading. So it is with Family Man, the crime noir graphic novel written by Jerome Charyn and drawn by Joe Staton. This is a deluxe edition to the 1995 series by Paradox Press, an imprint of DC Comics. This new 2019 edition is by It’s Alive and IDW Publishing. For a brief moment, both publishers were working together. What matters most is that this book packs a wallop, full of the grim and gritty underbelly of New York City that novelist Jerome Charyn knows so well. As is the case here at Comics Grinder, while we enjoy sharing images from books with you, we also don’t rely on it so much to the exclusion of thoughtful reviews. That said, let’s take a closer look at a book that well deserves it.
As a reviewer who also happens to be a cartoonist, I can tell you on an intimate level that this is a very special book. It’s a perfect pairing of writer and artist. Both Staton and Charyn are not holding back anything while also working as a team. Charyn is busy condensing his prose to the perfect concise distillation. Staton is busy letting loose with his highly expressive line ever mindful of disciplined efficiency and consistency. Both are being the artists they were born to be, both working on the same page. Take a look at the panel above. A whole story, a whole way of life, is held together in that one rectangle. Staton is depicting a connection between two brute men. Alonzo is the Mafia hitman showing respect. Don Furioso is the kingpin in decline who has been reduced to fretting over his colon.
We can see that Alonzo and the don are both past their prime and yet remain quite deadly creatures with no immediate plans to depart this earth. To that end, Alonzo the mob’s hitman, fixer, and “family man,” has been assigned the job of killing a band of rogue assassins who are bent on killing off all the Mafia dons in the city. It won’t be an easy task for Alonzo by any means. Add to the mix Charles, his own brother, the local Monsignor who works for the NYPD. If the killers don’t get him, Alonzo’s own brother just might.
Let’s take a moment to skip back to Joe Staton’s artwork. If you examine the above examples, you’ll start to focus in on the distinctive shades running throughout. Before everything went digital, artists had to be rather crafty about finding ways to create tones to spice up black & white line art. One way was with the use of a special bristol board that was embedded with shading inside the board. Applying a brush that had been dipped into a special solution would reveal the shading hidden within the board. What tones ended up making it to the surface were dependent upon the artist’s choice of brushstrokes. It’s my guess that Staton had a hefty stockpile of Duotone board at his disposal. By the early ’90s, around the time of the creation of this graphic novel, this old-fashioned board was pretty much already extinct. Staton probably had hoarded more than enough of this board going back decades. The results are stunning, of course, and it would take some doing to even try to come close to emulating it in Photoshop. Staton has a clean sharp style to begin with so this special shading technique was really just an option, an option that he makes the most of in this book.
With Family Man, Jerome Charyn and Joe Staton create their very own crime noir mythos. Alonzo, the mob hitman, and Charles, his monsignor brother, have numerous tales to tell and to act out. The setting, the mood, and the attitude all add up to an edgy good time. Joe Staton (Batman, Green Lantern) seems to channel the best of the work he’s done during his impressive career. He also seems to offer a tip of the hat to Will Eisner’s The Spirit. Jerome Charyn plays with various crime fiction tropes and brings in his unique sensibility as evidenced by his critically-acclaimed Isaac Seidel crime novel series. Alonzo is a “family man” in more ways than one. He used to be a true family man with a wife and kids. Later on, he became a family man to the mob alone. And, to further frustrate and complicate matters, he finds himself in mortal conflict with his only remaining member of flesh and blood family, his brother, Charles, the man of god who is not what he seems. As Charyn and Staton drop each layer of the narrative into place, the reader becomes all the more invested in the outcome.
A satisfying narrative, whatever the medium, is made up of a finely spun web of action, deliberation, long and short pauses, and a resolution that resonates, perhaps even transcends. It’s a matter of a myriad of creative choices and observations, big and small. Bit by bit, it all comes into focus: Alonzo, our big hefty protagonist, seems up to any challenge given enough time to digest a hoagie. Something about a certain metropolis is forever swirling in the background, and creeping into the foreground. New York City welcomes everyone but it coddles no one. Better to be tough, tough it out. A flamboyant so-called “man of god ‘ should wear a cloak or cape. And Alonzo better have a secret weapon. All the hoods eat hoagies too. Lastly, in the end, all the corruption, filth, mayhem, and blood lust tallies up. Maybe nobody gets the girl, like they used to in the movies. It’s all set “one hour into the future” with a crime-ridden New York City on her knees! But Alonzo will prevail, one way or another, and live or die as a “family man.”
I welcome everyone, especially my longtime readers, to check out the video review below. I invite you all to like, subscribe, do whatever you like to engage with, the Comics Grinder YouTube channel. Comics Grinder welcomes your support, as always, to help expand our reach and scope with your feedback and general goodwill! Take a look:
Family Man, by Jerome Charyn & Joe Staton, is a 300-page hardcover. For more details, and how to purchase, visit IDW Publishing right here.