A Dangerous Woman: The Graphic Biography of Emma Goldman. by Sharon Rudahl. edited by Paul Buhle. The New Press. 2007. 115pp. $17.95
Emma Goldman (1869-1940) is not an obvious choice for the subject of a graphic novel. Unless you’re into political science, you probably have never heard of her. But since when is it an obstacle to read a book about someone you’ve never heard of? It’s absolutely not an obstacle. More of an invitation. You see, Emma Goldman was a trailblazing anarchist who became known as “Red Emma” and, when she was deported from the United States in 1919, J. Edgar Hoover called her “one of the most dangerous women in America.” Comic artist Sharon Rudahl brings Emma Goldman to life in her graphic novel. It was a pleasure to review Rudahl’s graphic novel on Paul Robeson. You can read that here. And it seemed only natural to take one more look back to her graphic novel on Emma Goldman.
Emma Goldman lived a truly storied life. Born in Russia, Goldman joined the mass, late-19th century emigration to the United States as a teen, only to be deported back to Russia just as the Bolshevik revolution was tranforming it into the Soviet Union. One of the founders of the feminist wing of underground comix, Rudahl is a wonderful match to depict Goldman’s life and times. You can see the subject shimmer with energy as Rudahl digs in with enthusiasm and dedication. She adds little artful flourishes as needed and she dutifully finds creative ways to digest all manner of information and reconfigure it upon the page in a concise manner.
Emma and the Wobblies
Creating a graphic novel is no easy task and it sure helps if your subject is not only compelling but also unusual, in some way transcendent. Emma Goldman proves to be a highly distinctive individual with a hunger for knowledge and a need for helping the disadvantaged rise up. Rudahl follows Emma Goldman’s arc: from tentative public speaker to self-assured leader and rabble-rouser. Goldman was a true original, out in the forefront for worker’s rights, women’s rights, free love, anarchism and ultimately an overthrow of capitalism. It was her opposition to World War I that got her deported but, by that time, she’d already well established herself as “a most dangerous woman.”
Emma Goldman meets Paul Robeson in Sharon Rudahl’s Ballad of an American: A Graphic Biography of Paul Robeson.
Sharon Rudahl is one of the female comic artists who contributed to the first underground comix publications of the early 1970s. She was part of the collective that started Wimmen’s Comix in 1972. Rudahl also drew stories for Anarchy Comix #2 and #3 in 1979. In 1980, she published her own comic book, Adventures of Crystal Night.
An “old story” from the old country.
A close look at Rudahl’s career shows the steady progression of a determined auteur cartoonist moving up the ranks of the indie scene: creating short works of comics that lead to longer work; finally, everything in place, pursuing graphic novel work, A Dangerous Woman and Ballad of an American: A Graphic Biography of Paul Robeson. If you take a look at Rudahl’s short works, you’ll see she likes to come back to “old stories,” those nearly forgotten stories from the old country. It is someone with that sort of sensitive touch who is perfect for depicting the life of such a colorful and complicated figure as Emma Goldman.
A Charles Johnson self-portrait. If you know who R. Crumb is, then you really need to know who Charles Johnson is!
IT’S LIFE AS I SEE IT, cover designed by Kerry James Marshall
Chicago is one of the great cities for comics with a rich history dating back to the dawn of the comic strip supported by world-class newspapers. The Museum of Contemporary Art Chicago honors this tradition with Chicago Comics: 1960s to Now(June 19-October 3, 2021), curated by Dan Nadel. In the process, Nadel also edited a book that focuses on Black cartoonists entitled, It’s Life As I See It: Black Cartoonists in Chicago, 1940 – 1980, published by New York Review Comics. The title of the book comes from a gag panel cartoon by the cartoonist, and National Book Award-winning novelist, Charles Johnson. And the actual cartoon dates back to a collection of Charles Johnson cartoons, Black Humor, published in 1970, when Johnson was only 22 years-old. The two books document where Black cartoonists have been and point to a persistent struggle to rise upward. Discussion of the facts can only help to chart a course for the future—and it’s essential to look at all sides.
Black Humor cover, 1970.
The key narrative in It’s Life As I See It, is Black cartoonists reacting to being excluded from mainstream media, the white magazines and newspapers of the time. Dan Nadel asserts: “…neither Black cartoonists nor The Chicago Defender had a reach comparable to Chester Gould and the Chicago Tribune. Moreover, the Tribune and other primarily white outlets were notoriously uninterested in either Black cartoonists or Black subject matter.” And Johnson asserts: “…in The New Yorker, which at the time had a notorious history of not using the work of black cartoonists. In 1996, The New Yorker published a special “Black in America” double issue, which featured the work of thirteen “gag artists,” only one of whom was black; eight black people who submitted work were rejected, and the magazine’s cartoon editor, Lee Lorenz, admitted that The New Yorker‘s stable of cartoonists at the time was still entirely white.” However, when I spoke with former New Yorker Cartoon Editor Bob Mankoff, he had a generous history lesson to provide that can’t be overlooked.
From the pages of Black Humor by Charles Johnson
First of all, it is very difficult to get a cartoon published in The New Yorker to begin with. Bob Mankoff explains: “Historically it’s been very hard for anyone, regardless of race, gender or anything else to get published in The New Yorker. I submitted 2,000 cartoons to the magazine before I sold one. Even after I became a regular in the magazine, I sometimes went for many weeks at a time having all my cartoons rejected. To break into The New Yorker was an arduous process and basically anonymous. You just mailed in your batch of cartoons in a self-addressed stamped envelope and then got back a rejection slip or if you were lucky, eventually a sale. The Cartoon Editor, at that time, Lee Lorenz would not have known if you were black or white or really anything else about you. In looking over a thousand cartoons a week what was important to Lee, who I knew quite well, was the cartoon itself.”
1934 New Yorker cartoon by E. Simms Campbell. Archival sample.
Mankoff goes on to provide some historical perspective: “The reason there were traditionally few black cartoonists published in The New Yorker and relatively few women cartoonists compared to white male cartoonists, is primarily due to the fact that historically there were many more white male cartoonists in the field and submitting to The New Yorker than either black cartoonists or women cartoonists. That said, there were a number of women cartoonists, many more than black cartoonists of which, I believe there were only two, E. Simms Campbell and Robert Minter. E. Simms Campbell had quite a few cartoons published in The New Yorker in the ’30s before he moved to Esquire later in that decade to do Playboy-styled cartoons before there was Playboy.”
Esquire mascot, Esky, created by E. Simms Campbell
It was E. Simms Campbell, a Black man, who created Esky, the dandy with a top hat mascot for Esquire back in 1934. Esky is a whimsical character, albeit a rich white man too. In 1939, Campbell became the first African American to have his work syndicated nationwide. King Features published his comic strip, Cuties, a humorous series featuring pin-up girls, in more than 140 newspapers around the country. The Society of Illustrators includes in its Campbell profile: “E. Simms Campbell worked at the time racial segregation was the norm in the United States. Because his work was primarily about the life of wealth and pleasure enjoyed by white people, and it appeared in mainstream publications, most of his admirers were unaware that Campbell was African American. Economic reality was the most likely motivation for the absence of African Americans in his art, until after the Civil Rights Movement, most American publications were not willing to feature non-stereotypical minority characters regularly.”
1971 New Yorker cartoon by Robert Minter. Archival sample.
What’s really interesting in the case of the other known Black cartoonist at The New Yorker, Robert Minter, is that he was active right at the time that Charles Johnson’s Black Humor was published in 1970. You can do an internet search and see that Robert Minter was a regular contributor from 1968 to 1979. His gags are elegant, succinct, and definitely funny.
Moving right along to more recent times, Mankoff goes on: “When I became Cartoon Editor in 1997, I originally operated under the same criteria that Lee Lorenz employed. My focus was on the cartoon and on the cartoonist only to the extent that they could continue, week after week, year after year, to produce good original work based on the evolving tradition of The New Yorker cartoon in which the jokes are benign, and when not outright gags, a kind of comedy of manners gently tweaking the foibles and pretensions of the demographic of people who read the magazine, not punching up or punching down but elbowing to the side.
When David Remnick became editor-in-chief he realized that we needed to add diversity to our criteria. As a first step, the most obvious thing was not to make the default cartoon character white. If you look through any issue of the magazine nowadays you see people of color in all the situations and positions (doctors, lawyers, etc.,) that previously were occupied by white men. And there has been an effort to seek out more women cartoonists and people of color which has led to about half the published cartoons now being done by women. More diversity has been added by cartoonists with an Asian-American background such as Amy Hwang, Jeremy Nguyen, and Hartley Lin but for the most part, their cartoons do not playoff whatever has been unique about that background. In terms of black cartoonists, the outreach has been less promising. I did reach out to both Rob Armstrong and Darrin Bell and both had a few cartoons published but frankly, as they were both already successful, the rejection to acceptance ratio combined with not all that much money for a cartoon wasn’t worth the effort.
Since I left The New Yorker in 2017, many new cartoonists have appeared and I believe the effort for more diversity has been more concerted and urgent and is having more success with some black cartoonists such as E.S. Glenn, who I know, appearing in the magazine.”
Excerpt from Black Humor
So, theoretically, a cartoonist of the caliber of Charles Johnson could have continued submitting work to The New Yorker and have ultimately been accepted. However, it would not have been from the pages in Black Humor from 1970. As a young college student, Johnson was enthralled by a talk given by the Black activist poet Amiri Baraka where he urged Black people to give back to their community. Again, quoting from the same introduction, Johnson states: “I remember walking back to my dormitory in the rain from Baraka’s reading, dazed by what he’d said. I sat down before my drawing board, my inkwell, my pens. I started to sketch. I worked furiously for a solid week, cutting my classes. The more I drew and took notes for gag lines, the faster the ideas came. After seven intense days of creative outpouring, I had a book, Black Humor.” In less than a year, that book was published by Johnson Publishing Company, Chicago publisher of Ebony and Jet. The fact is that this kind of pointed humor, whether Black or not, is not part of The New Yorker sensibility. It would not have fit into what The New Yorker published then or publishes today.
From Black Humor, 1970, by Charles Johnson.
And so, if you’re a young Black cartoonist, circa 1970, fueled by hearty rebellion, what sort of cartoons are you going to create? The answer to that in Black Humor is a collection of biting satire pushing everything as far to the limits as possible. However, what may surprise some, is that the jokes that Johnson lets fly don’t take sides, often poking fun at Black protestors and poseurs alike as when a Black couple contemplate a date for the next riot. And perhaps only a Black cartoonist could strike the right chord when it came to lampooning white supremacy, often depicted in full Ku Klux Klan hood and robe. One joke has a mixed-race couple confronting a visit from mother, donning a hood and looking quite perturbed. Are these jokes unfair in their crassness? During an interview I conducted with Johnson, he pointed out that all’s fair when it comes to satire. And, while some of the cartoons may come off as utterly surreal, it is that very incongruity that makes them most effective. One example is when a Black man adamantly complains that, without discrimination, there won’t be anything left to complain about. Overall, these are cartoons by an accomplished young cartoonist eager to make some unflinching observations. And it’s no overstatement to say that Johnson, at an early age, was already an accomplished cartoonist having won more awards and produced more work than some professionals.
Middle Passage by Charles Johnson
Looking back at the early work of Charles Johnson is rewarding on many levels, especially when you consider where his creative pursuits would take him. Johnson would develop into a highly insightful writer of Black America, racism and slavery. To look back at some of Johnson’s cartoons is to view prescient fragments of the novels that were to come. Perhaps the most striking cartoon of that era is a Johnson cartoon from a 1976 collection of cartoons for Player (a Black version of Playboy), a joke that depicts the sexual fantasy of a Klansman as he gazes upon an attractive young Black woman. In the thought balloon, the Klansman’s deepest desire is for the woman to be stripped and lynched. This is a cartoon so dark, and outrageous, as to court its own deletion from history. But it is this very image, in its sophisticated morbidity, that needs to be seen. It is so distinctive that it could easily be a featured piece all to itself at any museum. Show it enough times, and it would grow to the strength of an iconic image. Keep it hidden, and it remains obscure. In contrast to Johnson, controversial work by R. Crumb has gained iconic status from repeated exposure over the years. Arguments continue to be made that R. Crumb’s blatantly racist comics, at the height of the underground comix movement of the sixties, are actually telling us something about the American psyche. However, Crumb has never adequately, if at all, explained his intent. In comparison to Crumb, Johnson’s work is clear, and, while sometimes blunt, retains its integrity without question.
If you know R. Crumb comics, then consider a Charles Johnson cartoon taking it to the edge.
The following cartoon is part of this paperback collection and no need to have it lost to history.
Cartoonist Tim Kreider wrote an essay in The Comics Journal in 2010 discussing Johnson’s early work. In that essay, he opens with a description of the Klansman cartoon in Player. Kreider cites the work of anthropologist Eli Sagan, his 1974 book, Cannibalism: Human Aggression and Cultural Form which “discusses at length the deep human ambivalence between affection and aggression evident in many cultures: the eating of deceased family members or honored warriors, the psychic power imputed to human trophies like bones and heads; the reverence displayed toward the victims of ritual sacrifice. (And lynching is, among other things, a form of ritual sacrifice.) Johnson’s thesis is borne out by three centuries’ history of the rape of slaves by their owners.” Of course, what stands out most today about the work in Black Humor is how direct it is, not pulling any punches. Kreider observes that the more blunt and honest humor was a product of its times, circa 1970, a time when Don Rickles could get away with jokes about “The blacks, the Jews, the Puerto Ricans—mostly the blacks.” But this kind of humor isn’t all from some bygone era. All you need to do is look at Dave Chappelle, circa 2003, and even today! It is a figure like Chappelle who demonstrates how issues about race don’t fit neatly into little boxes. Yes, Dave Chappelle is alive and well, continuing to make outrageous comedy, and yet he can seem to be hiding in plain sight when certain segments of the public won’t acknowledge him.
Krazy Kat comic strip, 1941.
Another prominent Black figure hiding in plain sight was the pioneering comic strip artist George Herriman (1880-1944). It wasn’t until 1971 that a birth certificate revealed that Herriman was Black. During his career, he chose to “pass for white,” a choice many Blacks made not only to hopefully advance in life but maybe even to save their lives. Herriman’s comic strip, Krazy Kat, (1913-1944) is known for its many coded passages. I asked Johnson if he thought some Blacks had figured out that Herriman was Black by reading between the lines of the comic strip. He thought that was possible. I then asked him if he’d ever read of Krazy Kat lamenting over being Black and wondering about being white. To that, Johnson wasn’t ready to accept those comics existed. I had to check back but these comics are documented in Michael Tisserand’s 2016 biography, Krazy: George Herriman, A Life in Black and White. In fact, I can cite for you here an example, circa 1925, “as when Krazy Kat showers in a bottle of bleach, saying, ‘This smex of a change among the kimplexion of things.’ That strip ends with Krazy turning completely white except for a black tail.” I checked in with Michael Tisserand and he responded with some samples and a reply: “There are many strips that deal with color and Krazy turning white. This “study in black and white” strip from 1931 is a pretty famous one and I’m sure I mentioned it in the book. There are also some beauty parlor gags in which Krazy turns white, one from 1941.”
Excerpt from Your Black Friend, 2016, by Ben Passmore.
In another comic strip from around 1925, Krazy describes this particular anxiety as one about an “inferiority complexion.” It’s a struggle that still haunts some Black cartoonists to this very day. If you take a look at Ben Passmore’s 2016 comic, Your Black Friend, there is a passage that depicts the cartoonist as a young boy smoothing out his curly hair and sucking in his lips to make them look thin like Leonardo Dicaprio. “The TV taught your black friend what beautiful was and it didn’t look anything like him.” On that same page, in another panel, Passmore glorifies hurting an innocent person. “One day your black friend heard about some cops killing a young black boy. That night your black friend threw a brick at a cop’s face.” This comic, which presents itself as a Black guidebook for white people, went on to be named on NPR’s Top 100 Comics list along with various comics industry accolades like, ironically enough, winning an Ignatz Award, which is basically a brick. Passmore takes a very obvious militant stance. Some people will find his work can be toxic while others will celebrate it without question.
You either cry–or you find a way to laugh. From Integration Is a Bitch! by Tom Floyd.
And so that brings us back to 2021 and to the book, It’s Life As I See It, part of a bigger show focusing on Chicago cartoonists. One question worth asking is, How useful is it to set apart one segment of the cartoonist community? In this case, some questions would never get a chance to be asked otherwise and some aspects of history would remain in the shadows. Issues of self-worth are very complex and hard to resolve so, for that reason alone, a book focusing on Black cartoonists is valuable. But it’s all that history needing to be presented within context that pretty much steals the show. If not for this book, so many readers would probably never have become acquainted with such significant trailblazing cartoonists as Tom Floyd and his 1969 cartoon collection, Integration Is a Bitch! This is Floyd’s hilarious account of entering, and exiting, the white-collar workforce. A typical cartoon features two white executives looking over The Civil Rights Act of 1964. One declares to the other, “Hire some Negroes…Quick!” To have such a document of the times available was downright revolutionary. Such a book, along with Black Humor, was great motivation when it was clear there would be no easy wins and many battles ahead. Black cartoonists would need to rely upon themselves, create their own media for their own community, and keep fighting.
From Morrie Turner’s Dinky Fellas, 1965.
Black cartoonists found homes for their work in Black media, like The Chicago Defender. As Dan Nadel noted in his introduction to It’s Life As I See It: “The great tradition of Chicago comics as it’s most often taught—that of Frank King, Chester Gould, and Harold Gray—is brilliant, but it was never the full story. More than any other city in the country, Chicago had a vibrant yet utterly separate Black publishing industry that encompassed multiple comic strip genres in the Defender newspaper and a raft of panel cartoons about Black life in the locally published magazines, including Jet and Negro Digest.” It was this yin yang of responding to exclusion and aspiring to inclusion that reverberated throughout the Black creative process. There was room for wonderfully satirical comic strips like Jay Jackson’s Bungleton Green and the Mystic Commandos, a science fiction parody where the white race is subservient, published in the 1940s in The Chicago Defender. And there was also room for Morrie Turner’s Dinky Fellas, a comic strip that Peanuts creator Charles Schulz encouraged Turner to create. Dinky Fellas was launched in the Defender in 1964 as a Black version of Peanuts. It would later be renamed Wee Pals and be syndicated in five newspapers. But it was after the assassination of Martin Luther King Jr. in 1968, with newspapers urgently seeking new Black voices, that Wee Pals was picked up by scores of papers and continued up to its creator’s death in 2014. A comic strip that came to life as a segregated version of the mainstream had managed to break through and to flourish.
Black anger, or is it simply human anger at injustice?
Charles Johnson was a young man, pounding the pavement in Manhattan in hopes of a big break from the great establishment media of the day—and never got it. All the answers as to why not are now painful to acknowledge. However you look at it, it was a long process. As a final aside, Johnson noted to me in an email that it wasn’t until The New York Times ran a review of It’s Life As I See It that a Charles Johnson cartoon was finally published in the pages of the great establishment media. A little late to say the least; but published nonetheless.
Quote from MIDDLE PASSAGE by Charles Johnson
Oh, one last thing, are you wondering what the cartoon alter ego for Charles Johnson is typing in the opening cartoon? Well, it’s not just mock type. Nope. In fact, it’s a quote from his National Book Award winning novel, Middle Passage. Just a nice FYI. There’s part of the quote right above.
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Without any prompting, as natural as can be, Der Spiegel has instantly compared Boris Johnson to Alfred E. Neuman! Europe remains supportive and hip to MAD Magazine. But what about the United States, where Alfred was born? The lights will soon go out on the print run of MAD Magazine as we’ve known it since 1952. No more ongoing original work after that. Everything is being shuttered, closed down. The only thing left will be a perpetual showcase of archived items left to fill the void. Presumably, the archived edition will sputter out in print after a while. Although the official line goes like this: DC Comics, which publishes the magazine, told ABC News in a statement: “After issue #10 this fall there will no longer be new content – except for the end of year specials which will always be new. So starting with issue #11, the magazine will feature classic, best of and nostalgic content from the last 67 years.” That’s something but it pales in comparison. In the long run, perhaps the end result will be back issues living on forever on the web gathering virtual dust. Of course, MAD Magazine will live on in the memories of its devoted fans. What a sad, sad, sad state of affairs. Does Warner Bros. have such little regard and respect for such a time-honored satirical publication? Well, it doesn’t quite fit into someone’s bottom line. It’s a shame to think that Alfred E. Neuman will gradually fade away as a pop culture icon. Perhaps there’s a chance for MAD Magazine to be saved. It happened with Newsweek. Anyway, the Boris Johnson cover of Der Spiegel speaks volumes.
We turn our attention to Seattle and a most engaging campaign by Sergio Garcia for City Council. This is a vibrant campaign on many fronts. One key element, to start off with, is the distinctive character illustration for the campaign. Garcia appears on campaign posters in the form of a contemporary Seattle police officer with prominent mustache and tattoos. The latest posters boil it all down to Garcia’s iconic mustache. It is a look that is getting people’s attention.
A campaign with style and substance that has struck a chord.
An essential issue that Garcia is addressing is the need for an improved and sensible approach to Seattle’s homeless population and related issues: affordable housing, crime and disruption. A basic need for safety is mired in politics and in desperate need of clarity. This is where someone like Sergio Garcia, with a law enforcement background and fresh perspective, steps in. Seattle citizens, fed up with the lax and chaotic approach to crime from the City of Seattle are more than ready for a fresh change and it looks more and more like Sergio Garcia can lead that new path.
Seattle is ready for a change.
And, with that said, it looks like this is a case where image and substance appear to be in sync. Garcia’s message, along with his brand, appears to be resonating with Seattle voters who are more than ready for a change. Having spoken with a number of business owners, the response I’ve gotten has been consistently positive. If Sergio Garcia wins, it will be thanks to a vigorous grassroots campaign. The primary election is August 6, 2019 and the general election is November 5, 2019.
Vote for Sergio Garcia, Seattle City Council.
For more details, visit the Sergio Garcia campaign site right here.
Illustration by Henry Chamberlain. What A Tangled Web We Weave When First We Practice To Deceive!
Maybe you’ll never read the Mueller Report. Well, don’t feel too bad.
Many a House Democrat hopes that Americans may finally be convinced that there is overwhelming evidence that Trump should be frog-marched out of office byway of the Mueller Report. They believe that if only Americans read the report or even a Cliff Notes version or maybe even seeing the big man himself forced to testify about his own report that then a collective light bulb would go off across the land. Well, there’s an even easier way to achieve that eureaka moment. Just go see the new Spider-Man movie.
Illustration by Henry Chamberlain. What supervillain would Bill Barr be? Doctor Octopus?
Nothing hits a person harder than to be betrayed by someone that they’ve grown to trust. Just think of this magical connection that Trump has with his base of supporters. It’s pure magic, right? Well, Spider-Man develops a bond with Mysterio in this new movie: one raw talent finds a mentor in a mature and seasoned superhero from another world. Pure magic! And then Mysterio delivers the greatest cut of all. He not only totally betrays Spider-Man’s trust, he proves to be a master of deception who doesn’t care who he hurts since he sees everyone as more than willing to be decieved. If only Mysterio could be impeached!
Illustration by Henry Chamberlain. Trump Demands Loyalty from Comey.
Well, there’s no impeaching Mysterio or even sadly hoping he’ll just go away with the next election cycle. Mysterio is around for as long as he wants striking fear over and over again. You gotta wonder if Trump finds anything useful in the Mysterio playbook. Mysterio and Trump would get along. Heck, they’re both already sharing from the same dictator playbook: strike fear, sow distrust, promise everything, discard any rules or sense of decency. If that were crystal clear to citizens, they’d want a guy like that out of office pronto, right?
Illustration by Henry Chamberlain. Lots and Lots of Fire and Fury!
And then the house lights go up and the movie is over. Mysterio is only fiction, right?
You know you want to read it.
Gee, if you had a guy like Mysterio running the country, it would make sense to impeach him, wouldn’t it? People wouldn’t just pretend there wasn’t a problem, would they? Well, truth is always stranger than fiction.
Herbert Marcuse, Philosopher of Utopia: A Graphic Biography
Herbert Marcuse is not a household name in the same way today as, say, Marshall McLuhan, another intellectual who broke into mainstream consciousness. However, Marcuse was a huge focal point for many protesters during the sixties and his ideas have great relevance for today’s challenging times. I say this as a way to cast as wide a net as possible for potential readers of a very compelling new work in the comics medium, Herbert Marcuse, Philosopher of Utopia: A Graphic Biography, co-authored and drawn by Nick Thorkelson, edited by Paul Buhle and Andrew T. Lamas, published by City Lights. It was my pleasure to get a chance to interview Mr. Thorkelson.
Herbert Marcuse, a hero of the student protest movement.
Marxism. Socialism. Capitalism. Philosophy. All of this does not add up to light and casual reading. However, a concise grinding through the comics medium can result in something quite enlightening–and here Nick Thorkelson succeeds to unpack issues with just the right touch. If you are at all interested in the politics and philosophy behind the tumultuous times we live in, then you will appreciate diving into this graphic biography. We cover in this interview just enough to give you a sense of the subject at hand. There’s the pesky sound of a leaf blower that momentarily vies for attention but it just goes to show that life is forever moving forward which is rather apropos to the spirit of our chat. Without a doubt, we live in dangerous and troubling times but, by learning from the past, it informs and inspires our present and our future. If you are not satisfied with the status quo, and dream of a better future, then you’ll want to read this essential guide to Herbert Marcuse.
Herbert Marcuse, Philosopher of Utopia is a 128-page trade paperback in duotone, available now, published by City Lights.
The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt
Jerome Charyn is one of those rare breed of writers able to write some of the most earthy stories involving some of the most larger-than-life figures, everyone from Marilyn Monroe to Teddy Roosevelt. For TR, Mr. Charyn pulls out the stops offering up the man in his own voice, a magnificent mashup of macho and aristocrat. Bully! TR, as he looks out from Mount Rushmore, remains one of our greatest personifications of America. And with his new novel, Jerome Charyn completes his run at Rushmore. He managed to tackle Washington and Jefferson in 2008’s Johnny One-Eye. He dug deep into the psyche of Lincoln with 2014’s I Am Abraham. And now we have The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt, published by Liveright, a division of W.W. Norton & Company.
Indeed, TR was a manly man right down to having a mountain lion on a leash as his pet. It’s during the Rough Rider period of his life that we first meet this big cat, Josephine. She was the mascot for TR’s own cowboy regiment off to fight in the Spanish–American War in 1898. An invasion of Cuba did not officially call for men on horseback. However, TR had other ideas. As an act of sheer will, TR got his Rough Riders. This excerpt offers a taste of this most quintessential TR adventure. Here we are just as U.S. armed forces begin departure to Cuba joined by the now celebrated Rough Riders:
We were mobbed at every station along the route. Folks welcomed us to their own little war parades. Half-mad women scribbled letters to Rough Riders they had never met and would never meet again. Some proposed outright marriage. A few of our bravos fancied a particular lady and disappeared from our caravan of seven trains. Leonard cursed their hides. But these bravos managed to find us at the next station, or the next after that. A horse died of heatstroke, but we didn’t lose a bravo, not one. People would shout from the tracks, “Teddy, Teddy, Teddy,” and I realized why the Army regulars hated us so. We had captured the imagination of blood and battle somehow–the Rough Riders represented the romance of war. We could have risen out of some biblical rapture. The Army couldn’t compete with cowboy cavaliers.
Let’s shift gears to another aspect of the storyteller’s bag of tricks. Here’s a taste of the pulp fiction action adventure vibe found here:
I had clocked twenty minutes, like pulse beats in my temples. Winters-White kept me from plummeting into that gnarled jungle floor. He tapped me on the shoulder and removed the blindfold. We were in a slight clearing, a bald patch without a single root or tree. And in this clearing was a canvas chair that might have come from a general’s tent. A man in a pince-nez and cowboy neckerchief sat in that chair. I’d have guessed he was my age–a few months shy of forty. He had a jeweler’s nimble hands. His mustache was almost as red as mine, and his eyes were probably just as weak. I couldn’t imagine him as a sniper, shooting at children and nurses from the Army Nurse Corps. Yet here he was, in the green uniform of a Vaquero.
“We’ve met before,” he said in a slight accent.
Wouldn’t it be something to see a Cowboy King movie? There is room for a sequel as this novel covers Roosevelt’s life right up to September 6, 1901, the assassination of President William McKinley, a day that would catapult TR as far into the arena as he had ever dared possible. That said, you really don’t need to look any further than this novel. Cowboy King is a novel at its best: engaging, immersive and compelling.
Teddy Roosevelt, an American original.
The Perilous Adventures of the Cowboy King: A Novel of Teddy Roosevelt is a 286-page hardcover, available as of January 8th, published by Liveright. And be sure to visit the Jerome Charyn website where you can purchase a signed copy.
Have you ever wanted to just go all Jack Kerouac and do an extended road trip? You’d yell out, “Nothing behind me! Everything ahead of me!” Well, what if you’re also caught up in trying to grapple with America under Trump? Then consider this new graphic novel, Amongst the Liberal Elite, written by Elly Lonon and illustrated by Joan Reilly, published by powerHouse Books. It is based upon Ms. Lonon’s hilarious McSweeney’s column. More on that later. If you also happen to enjoy a regular intake of NPR, MSNBC, and lean left in your politics, you’ll especially appreciate the ongoing quips exchanged by the story’s two main characters, Alex and Michael, a couple of upwardly mobile middle-aged lefties.
The humor is of the razor-sharp rapid-fire Jon Stewart variety. It can sometimes feel like too much of a good thing so everything depends upon the timing and delivery. The characters let loose a bon mot, hold back a bit to engage in self-deprecation, and then repeat. That’s basically the pace of this narrative. If you like the characters, then all is golden–and these two characters are very likeable even if you never really get past their walls of witty retorts. And, hey, maybe you know people like that. What you get here is a very lean, crisp, extra-dry and droll, gluten-free set of misadventures. This sort of political humor tends to be built this way and for good reason. There is only enough character development to serve the jokes and plot. There’s no deep connection nor would you need or care for that. Think Seinfeld. These are fictional constructs here to tickle your funny bone and offer up some finely-tuned political satire. Bravo! It works exceedingly well.
Amongst the Liberal Elite by Elly Lonon and Joan Reilly
To be able to take a popular column made up of clever repartee and turn it into a graphic novel is quite remarkable. I can’t stress enough what an ambitious task that is. Joan Reilly’s artwork successfully sustains this very special blend of political humor. Ms. Reilly is a masterful political cartoonist in her own right so she proves to be the perfect creative teammate to Ms. Lonon. Together, Elly Lonon and Joan Reilly bring to life two super quirky characters with much to say and reveal about our current political state.
The full title is Amongst the Liberal Elite: The Road Trip Exploring Societal Inequities Solidified by Trump (RESIST) and it is a 156-page hardcover published by powerHouse Books.
Bob Woodward has a book out on Trump. You may have heard of it. It’s entitled, Fear, published by Simon & Schuster. Mr. Woodward, a legend in journalism, was in Seattle for a Q&A at the Paramount Theatre this Wednesday night. Local pundit Knute “Mossback” Berger was the moderator. Mr. Berger asked a series of mellow questions. He asked, for instance, about the book’s title. The great thing about interviewing someone like Bob Woodward is that half the battle is just to show up. No matter the question, Mr. Woodward will proceed to paint a vivid picture. Regarding the book title, that took him back to Candidate Trump, long before his campaign was considered substantial. It was the job of Woodward to still pose serious questions, the same sort he’d posed to Candidate Obama and others. That day, the pivotal question was asked: What does power mean to you? The scene that played out was something close to Shakespearean. Trump seemed to turn his attention out toward a confidant in his mind’s eye. Power, and holding on to power, Trump said, is achieved through striking fear.
It is during an audience Q&A that things can get quite interesting. For Woodward, this was a time to riff, to explain, to clarify, in any way he pleased. Each response turned out to be a gem. It meant he took his time and didn’t get around to everyone who dutifully lined up with a question. Each answer took on a life of its own. One question might begin a discussion on a related subject. One answer would emerge prompted from a question asked earlier. It would result in such gifts as Woodward recollecting the day that he finally got former President Gerald Ford to reveal the details of the Nixon pardon. The common assumption had been that a deal had been struck. And, indeed, a deal had been offered by White House chief-of-staff Alexander Haig. Ford refused a quid pro quo. There was no reason for it since he was to replace Nixon anyway. It was only later, with the prospect of Nixon continuing to damage the country, that Ford chose to pardon him. It wasn’t an easy decision and it was clear that this decision would seal Ford’s fate. It was a decision that he would never be able to recover from as a candidate for president in his own right. In retrospect, it was to be acknowledged as a courageous decision. Ford went on to be the recipient of the Profile in Courage award in 2001. It was presented to him, at age 87, by Caroline Kennedy, President Kennedy’s daughter. A lesson in not be too quick to judge.
FEAR by Bob Woodward
The final answer, again originating from one question and yet seeming to answer them all, was a true showstopper. This last gem found Woodward looking back to some of his earliest memories. He was playing with two previous questions: the idea of what in his life caused him the greatest shock; and summing up the crisis we live with today with a dangerously incompetent commander-in-chief. Woodward had already painted a picture of an easily distracted Trump. And that got him to thinking of how some things should be fundamentally understood, like the difference between right and wrong. As a young Naval officer, Woodward served aboard the USS Wright, and was one of two officers assigned to move or handle nuclear launch codes. This was circa 1965. It was seared into Woodward’s psyche that the fundamental responsibility of an American president is to stay out of a nuclear war. But Trump was oblivious to the most basic facts. He openly questioned the existence of NATO. He did not understand the most basic facts of global interconnection. So, in order to best answer that question asked a while ago regarding what shocked him the most, Woodward just had to refer back to Trump, a president so brazenly ignorant that he compels his Secretary of Defense to have to answer, “Mr. President, we do these things in order to avoid World War III.” That’s enough to make anyone lose their lunch.
Fear is surely required reading. It is definitely a worthwhile book and measures up with Mr. Woodward’s best.