Tag Archives: Peter Kuper

Peter Kuper interview: On Comics and INSECTOPOLIS

Peter Kuper is a regular contributor to The New Yorker, The New York Times, The Nation and MAD magazine where he has written and illustrated SPY vs. SPY every issue since 1997. Kuper is also the co-founder and editor of World War 3 Illustrated, a political graphics magazine that has given a forum to political artists for over 40 years. Well, that gives you some sense of his impressive career, one that finds his latest graphic narrative a most notable addition. Insectopolis, published by W.W. Norton, is about the insect world and how it interacts with us humans and is truly one of those great all-ages works that will equally appeal to kids and adults. Insectopolis makes you all the more aware of your existence and how it is shared with a multitude of other beings, some with wings, antennae or multiple eyes and legs.

Insectopolis is published by W.W. Norton. The publication date is May 13, 2025 and is available for pre-order. Visit W.W. Norton here.

All great works of graphic narrative always involve a process with numerous factors in play: the research, the timing, the pacing, the work environment, and so on. It was an amazing and fascinating conversation I had with Peter Kuper. In terms of getting a window into the creative process, Kuper shares a multitude of observations on how his new book was created, and under some very unusual circumstances. As he explained, it all began when he was awarded a fellowship with The New York Public Library. Oh, it did just so happen to coincide with the Covid pandemic. This perfect storm or, let’s say, most unusual set of circumstances provided Kuper with quite a unique vantage point. Suddenly, here he was working on his new book with a world-class library practically all to himself.

“Roses?”

The Rose Room!

Suddenly, the famous Rose Room, a favorite of library visitors and usually filled with hushed activity, was empty and there for Kuper, and Kuper alone, to draw inspiration from. Well, he must have been in heaven, a heaven filled with butterflies, beetles, and even cockroaches! All insects are welcome here!

Under the library!

So, Kuper set about making the most of this situation he was in, where time had seemed to stand still. He was able to linger longer than ever before and explore places that normally would have gone unnoticed, like the library’s vast underground corridor. And, bit by bit, a book being created during a pandemic led to a book set in a post-apocalyptic future, post-human, where insects must assess the relationship between humans and insects. Fortunately for us, we can read the results. Without a doubt, this is a book that is a must-read for any human seeking a better connection with the vast array of potential insect friends.

A paperback talisman.

A little over ten years ago, Kuper published a wonderful graphic novel, Ruins, which follows two parallel stories: one of a troubled relationship between a husband and wife; and the other, the struggles of migration for a Monarch butterfly. Well, there are plenty of Monarch butterflies in Kuper’s latest book. Is there a connection? Oh, sure, but the deepest one goes back to a four-year-old Peter Kuper. As he states, it was picking up a paperback on insects at such an early stage that sparked a lifelong interest in insects. Peter even held up a copy of that very same beloved paperback. He keeps it handy, as a friendly reminder.

And then a gnat flew by.

I must say, there was something in the air on the day of our interview. This has never ever happened before to me but, just as I was reciting my introductory remarks, a gnat emerged out of nowhere and darted across the screen. You can see it for yourself. Was that a sign? Yes, of it was! That little gnat needed to be known!

Ants as Horror Movie Monsters.

As you will see in the video, our conversation is easygoing as well as at a steady pace. There are a lot of dots to connect. I did my best to imagine, beforehand, what it must have been like for Peter to find himself gathering one compelling set of facts after another and seeing how this element might fit in with another. For example, there is a good bit of unpacking on how insects have been demonized by humans. Dragonflies were once deemed spawned from hell itself. And ants get grilled over the coals and become monsters for Hollywood’s answer to the atomic bomb and the threat of nuclear war. But it’s humans who ultimately cause the most destruction to insects, the planet and to themselves.

One favorite moment for me is when Peter and I discuss what a cicada and a tree might chat about over the course of many years. That happened after we had discussed the various shifts in tone and style found in the book. The cicada sequence proves to be a refreshing shift from the previous sequence of pages–and a great example of how Kuper deftly balances the pace of things.

I greatly encourage you to view the video and, while you’re at it, give it a Comment and Like. I’m often good at getting people to stop by for a brief view and now I’m doing what I can to have more and more folks take it a step further and engage with my YouTube channel. Your engagement helps to secure more videos in the future and we all want to see me continue to do that, don’t we? Ah, well, that’s my pitch.

That said, by all means, seek this book out and, if you’re in New York City, be sure to catch a show of original art from the book at the Society of Illustrators. Details on the show follow:

Society of Illustrators Presents Insectopolis: A Natural History

Insectopolis: A Natural History will be on view at the Society of Illustrators from May 14 – September 20, 2025 in the second floor gallery. It will feature original artworks by Peter Kuper.

Exhibit Details:

On display in the 2nd Floor Gallery.

Join us on Thursday, May 22, from 5–9pm for a Museum Mixer celebrating the opening of Insectopolis: A Natural History.

The evening will kick off with a special pre-tour at 4pm & 4:30pm, led by artist Peter Kuper, with guest entomologist Louis Sorkin — who will be bringing live insects for visitors to observe and interact with up close! Space for the pre-tour is limited, so be sure to RSVP.

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Review: Joseph Conrad’s Heart of Darkness, adapted by Peter Kuper 

Joseph Conrad’s Heart of Darkness, adapted by Peter Kuper

Guest Review by Paul Buhle

Joseph Conrad’s Heart of Darkness. Adapted by Peter Kuper. Foreword by Maya Jasanoff. New York. W.W. Norton, 2019, $21.95.

It is difficult to bring to mind a classic novel more overinterpreted than Heart of Darkness, and the reason has far less mystery than the novel itself. Joseph Conrad projected himself, his Victorian Britain, upon the African (more specifically, Congo) landscape, and intellectuals but also readers ever since have projected themselves upon his distinct literary creation.

Teachers have been assigning Heart of Darkness for well over a century, reinterpreting Conrad again and again, at least as frequently as literary theories shifted. Anti-colonialism and Negritude offered the sharpest criticism, amounting sometimes to rejection of the idea of writing the novel at all. Neo-colonialism, the reigning reality of our time, has renewed the ambiguity. The jungle and all its flora and fauna are under extreme assault. That the US/CIA chose to have a foremost African champion, Patrice Lumumba, assassinated just three generations ago pointed up the living contradictions  that Conrad glimpsed or perhaps did not glimpse.

Peter Kuper is an artist for contradictions and for graphic novel adaptations. An adopted son of Manhattan, he has depicted the city with as much dread as any painter, filmmaker or musician could manage. His adaptation of Upton Sinclair’s The Jungle outdoes his adaptations of Kafka, in my view, because the horrors of that urban giant, Chicago, are themselves monumental. Did Kuper suspect he would go from jungle to jungle? We wonder.

At any rate, Kuper makes every effort to be as faithful to the sprit of Conrad as he can. He wants to make an immanent critique of colonialism as seen by the soldiers and statesmen of colonialism. They are coldly calculating in their pursuit of riches and fame, including the extermination of all the dark-skinned humans in sight, by outright murder or working them to death. And yet they are also mentally twisted adventurers, for who else would participate in such an ugly and dangerous mission?

Marlowe, as demonstrated in the novel, can understand horror when he sees it, and as a commercial agent is very much part of the machinery of it. The vanishing of the mysterious Mr. Kurtz, the need for the trek into the jungle, is the test of Marlow and arguably, the test of artist Kuper, who has traveled widely, lived for extended periods in Mexico, not to mention being part of a peacenik, anti-imperialist political magazine collective for forty years and still going.

Kuper offers us several remarkable pages of explanation, in his introduction, of how he approached what he calls “the fraught history of cartoon stereotypes.” (p.xx). He explains technique as well as purpose of subverting Conrad’s text while still being faithful to the literary quality—no mean trick.

Whether this is successful, we can best judge as the pages pass and we find ourselves deeper in the jungle, deeper in the horrors of managing the ghastly enterprise. Actually, of course, Marlow is mostly halfway on the outside, a fellow white man, looking in. And becoming more savage than any black man or woman of the jungle.

Kuper manages to explain, with the brevity of a single panel, the deepest desire of the one intellectual, Kurtz, through his protege: that booty would remain but every black skinned human would be exterminated, an insane and impossible task.

Kuper saves his darkest dark for the final pages, Marlow’s return home to London, where he meets but cannot truly confront the belief in Kurtz’s eminence. These last pages drip with blacks and grays, driving home the point.

Paul Buhle is actively producing radical comics.

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Review: ‘Diario de Oaxaca’ by Peter Kuper

“Diario de Oaxaca” by Peter Kuper

Peter Kuper is one of the great cartoonists and any book by him is a treat. In this case, you have a highly creative individual out and about for two years in a most stimulating environment, Mexico, specifically in Oaxaca. What could be better than his sketchbook journal of his two years there? The paperback version of his “Diario de Oaxaca” recently came out from PM Press.

Pages from “Diario de Oaxaca” by Peter Kuper

Kuper follows his heart and stream of thought to deliver page after page of enchanting work. He has a special multi-colored pencil that he uses. The lead in the pencil is made up of various colors. That allows much greater spontaneity as he can instantly shift the pencil to get a different color and then another and so on. He seems to have most fun with creating work that has that look of being on the fly–but can also be a mix of a long day, or night, of contemplation.

The sense of excitement and discovery is palpable. In a similar quick manner, he jots down numerous observations in prose as well. The joie de vivre takes a decidedly sober tone as Kuper finds himself covering a fight between strikers and government troops that left more than 20 people dead, including American journalist Brad Will. The end result is that Kuper manages to capture both the light and the dark of Oaxaca in an extarordinary collection of dispatches.

“Diario de Oaxaca: A Sketchbook Journal of Two Years in Mexico” is a 208-page paperback with full color artwork throughout. For more details, visit PM Press right here.

Book Giveaway: Be sure to visit tomorrow when the Comics Grinder Winter Giveaway kicks off. Among the items that will be available will be a copy of “Diario de Oaxaca.”

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Interview: Peter Kuper and ‘The System’ and ‘World War 3 Illustrated 1979-2014’

Page 70 from "The System" by Peter Kuper

Page 70 from “The System” by Peter Kuper

Peter Kuper is passionate about comics, New York City, and activism. He has established himself as a leading authority on all three subjects in a remarkable career that continues to explore and to grow. Where to begin? Well, many readers will know Mr. Kuper for his continuous work on “Spy vs. Spy” in MAD Magazine, since 1997. In that same year, his landmark graphic novel, “The System” was published. And it all begins with a love for underground comics and pushing the limits. This would lead to “World War 3 Illustrated,” started by Kuper and his childhood friend, Seth Tobocman. All sorts of subversive ideas were percolating between these two cartoonists while growing up in Cleveland. We discuss a key moment that brought things to a boil.

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Filed under Comics, Graffiti, graphic novels, Illustration, Interviews, Peter Kuper, World War 3 Illustrated

Review: ‘World War 3 Illustrated 1979-2014,’ edited by Peter Kuper and Seth Tobocman

"War in the Neighborhood" by Seth Tobocman

“War in the Neighborhood” by Seth Tobocman

There is a stark beauty to be found in the 320 pages of this full-color special collection of comics, “World War 3 Illustrated 1979-2014,” published by PM Press and set for release this July. I call it a stark beauty for good reason. I think it is the most economical way to express the urgency and the severity of the issues being confronted. It’s also a quick way to say that this is thoughtful and vital art that you’ll find in this collection of some of the best work to appear in the semi-annual anthology, “World War 3 Illustrated.”

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Preview: ‘World War 3 Illustrated 1979-2014,’ edited by Peter Kuper and Seth Tobocman, Release Party in NYC, June 19, 2014

"On The Tea Party Trail" by Peter Kuper

“On The Tea Party Trail” by Peter Kuper

“World War 3 Illustrated 1979-2014,” edited by Peter Kuper and Seth Tobocman, with an introduction by Bill Ayers, is essential reading. Activism and comics are a natural together and this impressive collection is a shining example. It is a balancing act to make sense out of what can appear to be utter chaos. Of course, it’s this chaos that demands close scrutiny since it is likely orchestrated by others in power with a ruthless need to manipulate, cheat, and steal. Sure, you’ve heard of The Tea Party and you may think you know what they’re about. But do you really? Well, they’re not real. They were created by the Koch brothers. And maybe you know that. But, just like Thomas Nast “exposed” the corruption of New York City politics one hundred years ago by distilling dense information into compelling cartoons, so too do cartoonists today, like Peter Kuper, provide that same valuable service.

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Filed under Anthologies, Comics, Peter Kuper, PM Press, World War 3 Illustrated