Garth Ennis has been writing comics since 1989. Credits include Preacher, The Boys and Hitman, with successful runs on The Punisher and Fury for Marvel Comics. As well as his own war series War Stories, Battlefields, and Dreaming Eagles, he recently revived the classic British aviation character Johnny Red, and has produced two series of World of Tanks for Wargaming.net. Originally from Northern Ireland, Ennis now resides in New York City with his wife, Ruth.
It is an honor to have the opportunity to discuss comics with such a notable comics writer as Garth Ennis. Even the most casual of comics readers will recognize the name behind such big hit titles as Preacher and The Boys. For this conversation, we focus on the exciting Garth Ennis titles being published by Dead Reckoning, particularly the newly collected, The Tankies. Any writer will easily relate to what Ennis has to say about growing up reading war comics. As a child, the only comics he could access back in Belfast in the 1970s was 2000 AD, a sci-fi anthology, and Battle, a monthly collection of the best British war comics. It was there that he read Charley’s War, a collected comic strip about a boy soldier who enlisted in World War I just in time to fight in the Battle of the Somme. What really struck Ennis was the veracity of these works. These were real stories about real people. It stood in stark contrast to fantastic themes he was reading elsewhere. And it stuck by him. Like any good writer, he has essentially been recreating what had the most impact upon him as a child.
For those of you who are longtime fans as well as new fans emerging from The Boys on Amazon, Garth Ennis has so much to offer the reader in incisive and highly engaging work. Our talk, in fact, pretty much focused on the collected Tankies as there was already plenty there to cover.
Stiles, the man you want in a clutch.
We discuss the main character of Stiles, an awful little man who redeems himself over and over again by leading his men into combat. Stiles may not be likable or pleasant but he knows what can and can’t be done on the battlefield. Stiles is the man. He is not much to look at but, in the end, he wins you over by sheer determination and integrity. And Stiles is the glue that holds together the three stories in The Tankies.
The Korean War. We forget it at our own peril.
As we progressed, we turned our attention to the Korean War. I pointed out that this trilogy of war stories could have easily been all from World War II. Ennis said that, by the time he came around to writing a third Stiles story, it became imperative to do a whole separate story set during the Korean War, a war that has somehow receded into the shadows of history. It’s a sobering thought to think such a war is sort of lost to history given it really had all the factors that could have led to World War III.
So, if you’ve read some Garth Ennis by now, I highly recommend his war stories and you will find a perfect selection of The Tankies, The Stringbags, and The Night Witches, over at Dead Reckoning.
Corporal Stiles, a rough and rowdy fella who is nobody’s fool.
The Tankies. writer: Garth Ennis. artist: Carlos Ezquerra. Dead Reckoning. 2021. 248pp. $24.95
All good writing provides a hook, a way into a story. War stories might seem challenging for unfamiliar readers since they might seem remote–but not if you have characters as alive as the action. Garth Ennis knows this well and it has resulted in numerous thrilling and engaging war stories. In the case of The Tankies, Ennis opens with a panorama of activity evoking the intensity and chaos during the Normandy invasion. After a good amount of blood spill, a leading figure emerges: Corporal Stiles. He’s a rough and rowdy fella who is nobody’s fool. Of course, some folks need convincing, like gunner Robinson who has Stiles pegged for a Geordie from New Castle. And what’s a “Geordie” supposed to be? Robinson is from the East End of London, a Cockney. And, as far as he’s concerned, Stiles is a lowly Geordie from the Tyneside area of North East England. Ah, the petty conflict amid the vast hell of conflict! And there you’ve got the bits and pieces that add up to a good hook!
Enter Corporal Stiles!
This collection of war stories features Stiles, who assumes the rank of sergeant throughout the rest of the book. And, of course, it’s the Tankies (nickname for the Royal Tank Regiment) that remain constant too. In the course of this series, Stiles leads his men from the battle for Normandy to the Nazi heartland; from the end of World War II to the killing fields of Korea. Did you ever read Sgt. Rock comics? Sgt. Rock was a DC Comics staple, created by Robert Kanigher and Joe Kubert. I think there’s a bit of that vibe here. Of course, Ennis is well steeped in all sorts of military comics from across the pond, namely, Battle Picture Weekly and War Picture Library. This has led to many fine war comics stories from Ennis with The Tankies as a prime example.
These stories will also appeal to you if you enjoy learning about world history. Ah, yes, through the marvel that is comics, you will quickly pick up numerous nuggets of insight all thanks to the tireless research done by Ennis. It is through the comics medium that you can absorb facts by the fistful. The Tankies provides the reader will a gripping narrative while all the time giving the reader a remarkable sense of time and place. The Brits, or “Tommy,” as the Germans mockingly called them, were at a major disadvantage with relatively inferior tanks compared to the sleek and virtually impenetrable Nazi counterparts. Within these pages, the reader will come to fully appreciate what an act of courage it was to climb into a relatively subpar Sherman or Churchill tank to do battle with such Nazi dragons as the Panther and the Tiger. It will send shivers down the spine. And it will have the reader rooting for Stiles and his men.
Boys will be boys.
A good war story, just like a good Western, is dependent upon a sense of authenticity and flesh and blood characters you can believe in. Without a doubt, Ennis delivers on both counts. Couple this stirring narrative with the exquisite art by Carlos Ezquerra (1947–2018) and you have an all-out winning combination of amazing storytelling. War comics, in general, are beloved by fans not only for their grit but just as equally for their humanity. Ezquerra literally puts a face to the action. If you are new to the genre or a seasoned aficionado, you find there is much to love in this collection. You will gain a better sense for World War II and the Korean War as well as the old adage that “war is hell.” So, take the journey with Stiles and his honorable men.
War comics at their best.
Be sure to visit Dead Reckoning, publisher of The Tankies as well as other Garth Ennis titles: The Stringbags and The Night Witches. All three of these titles add up to an outstanding showcase of war comics by Garth Ennis. As any comics and pop culture fan already knows, Garth Ennis is known for such titles as Preacher and The Boys. Well, it will delight fans of these titles to dig deeper, if they haven’t gotten the chance already, and learn the sort of history that you probably were not exposed to in high school and maybe not even in college. As for The Night Witches, this is an in-depth exploration of World War II from the Russian perspective and the view from the female Russian aviator at that! Also featuring bi-planes is the gripping story of The Stingbags. You will find out how antique planes do battle in a new generation’s war. This is war comics at its best.
I have interviewed Steve Lafler and I’m letting that sink in. The man is a walking encyclopedia of experiences and knowledge. I do hope we can chat again sometime. For a first interview, we covered a lot of ground. I was intrigued and delighted and I’m sure you will be too with this most provocative cartoonist.
Steve Lafler is a very cool cat–and, as promised, we’re about to take a deep dive into all things Lafler. Long before Zoom interviews, I’ve been taking notes and chatting with a good many talented folks. I think we cartoonists, at least a certain subgroup, are compelled to express ourselves in numerous ways. You’ll find, for instance, that comics and journalism have been entwined since the American colonies. In Mr. Lafler’s case, he has devoted a lot of energy in two directions, the love of comics and the love of music. In my interview, I try to focus on how Lafler has lovingly included music, especially jazz, into his comics.
1956: Sweet Sweet Little Ramona is Lafler’s latest title and we enjoy talking about it. The subtext is pretty much in the forefront: our main character, Ramon, seems to be most happy when he gets to be Ramona. Or, if not most happy, then it’s definitely a sweet joy to dress up and be a woman for the night. That said, the comics pretty much speak for themselves. Lafler, himself, has provided a few clues over the years that he enjoys indulging in some gender-bending dressing up. One must follow their muse! I think, with 1956: Sweet Sweet Little Ramona, Lafler beautifully expresses that most basic and primal human need to be true to one’s self.
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.
Death Plays a Mean Harmonica
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.
Nate Powell is an American graphic novelist and musician. His 2008 graphic novel Swallow Me Whole won an Ignatz Award and Eisner Award for Best Original Graphic Novel. He illustrated the March trilogy, an autobiographical series written by U.S. Congressman John Lewis and Andrew Aydin, which received the 2016 National Book Award, making Powell the first cartoonist to receive the award. Powell’s latest book is Save it for Later: Promises, Parenthood, and the Urgency of Protest, published by Abrams and out April 6, 2021.
Today is especially newsworthy in connection with a Nate Powell interview as it was officially announced that Run, a new trilogy and a continuation of March will be coming out this August. Thankfully, Powell and I get to talk about that towards the end of this interview. Here is the news release today by The Associated Press:
NEW YORK — The award-winning series of graphic novels about congressman and civil rights activist John Lewis will continue a year after his death.
Abrams announced Tuesday that “Run: Book One” will be published Aug. 3, just over a year after Lewis died at age 80. As with the “March” trilogy, which traced Lewis’ growing involvement with the civil rights movement in the 1960s, “Run” features longtime collaborator Andrew Aydin and illustrator Nate Powell as they shape a narrative around Lewis’ reflections. Comic artist L. Fury will assist with illustrations.
“Run: Book One” begins after the signing of the Voting Rights Act in 1965.
“Lewis recounts the highs and lows of a movement fighting to harness their hard-won legal protections to become an electoral force as the Vietnam War consumes the American political landscape — all while the forces of white supremacy gather to mount a decades-long campaign to destroy the dream of the ‘Beloved Community’ that John Lewis, Dr. King, and so many others worked to build,” according to Abrams.
Lewis, Aydin and Powell shared a National Book Award in 2016 for the third volume of the “March” trilogy.
How do we get to where we want to be when it comes to social justice and related matters? Well, as Nate Powell points out in our interview, we need to arrive at a shared objective reality. That seems to be a tall order now in the disrupted and fragmented world we live in dominated by social media and tribalism. But if we don’t find a way back, we just add to our struggle. Powell brings up Nelson Mandela’s call for a return to truth in order to achieve reconciliation. And that’s at the heart of so much of the conflict and misunderstanding, intentional or not. This is an interview that focuses on Powell’s new book, a set of essays that explore the American landscape since the Trump era and beyond. Will we move on? In the big picture, we Americans have no choice. It all hangs in the balance, including democracy as we know it.
This interview is very special as I appreciate Nate Powell’s work as working at the highest level of what we expect in the best of comics and graphic novels. A select group of cartoonists can truly call themselves graphic novelists. A select group of cartoonists reach a point where they truly are the go-to folks we can rely upon for solid compelling storytelling. Nate Powell, without a doubt, is in that group.
So, I hope you enjoy this conversation. I hope it does all the good things that an interview can do: inform and inspire.
Save it for Later is available as of April 6, 2021. For more information, visit Abrams ComicArts.
Save it for Later. by Nate Powell. Abrams ComicArts. New York. 2021. 160pp. $24.99
Nate Powell provides a series of what I call “visual essays” for his latest book, Save it for Later. Powell, whether he intended to or not, is working in the tradition of essays going back to Michel de Montaigne (1533-1592). Montaigne was a philosopher who, in spite of or because of his erudition, knew how to write plainly and memorably. The sign of any good writing is that it sticks with you, akin to an absorbing conversation with an intimate friend. Essays are not meant to be perfect, although they do best if they ultimately have something meaningful to say, and achieve a clarity of purpose. Powell’s book is not perfect–and I’m glad it’s not. Powell manages to retain a certain level of rawness that adds authenticity. This is a real person who is just trying to figure things out, what’s best for him, his family, and his community.
A parent’s passion.
It’s a messy and complicated world–sometimes ugly (maybe more now than in recent memory). We live for only a pocket of time: perhaps we’re more aware of the ever-shifting present than ever before and mindful of the relatively recent past and future. In the big picture, we’re all here just for a blink of an eye’s time. And then we’re gone. Dust. No more. You’d think that would humble us. We’re too ready to pass judgement and condescend–somehow oblivious to the fact than none of us are going to leave this earth alive. Pretty heavy stuff. And then you throw in the role a parent plays in guiding a child, navigating a child through all the grown-up stuff going on. Let’s not forget there is plenty of joy to go around. You don’t have to be “privileged” to enjoy so much that life has to offer. But sometimes a parent feels a heavy burden to get it all right. One thing is clear in this book, Powell feels the burden and he takes it almost to the breaking point.
A child’s choice.
We cartoonists are born explainers. There’s something about us that compels us to jump upon the stage of life. We’re part artist, writer, journalist, and actor. This need to perform, act out, and explain is genuine and natural. I can clearly see that Powell is driven to make his time count: make the most of his talents, make a difference. That heart-felt desire is undeniable. It is that kind of energy that fueled what he was able to accomplish with March, the trilogy exploring the civil rights movement with Rep. John Lewis and Andrew Aydin. In fact, March figures prominently in Powell’s new book. It is ever-present, not only guiding Powell but influencing the lives of his two children. How does the cartoonist who was a part of such a consequential work address questions of race? How do we feel confident that he’s conveying an honest picture of himself? It’s not easy! I think what really helps, and to Powell’s credit, is the use of what I call “the counter-narrative.” Right alongside Powell’s main narrative, he has moments that depict another viewpoint like when his older daughter, at age seven, admits she sometimes goes to protest rallies because she thinks that is what her father wants her to do.
Two generations co-existing.
Let me share with you how the issue of race was addressed in my family when I was child. Basically, in the 1970s, in my household, it was never explicitly and formally addressed the way it is now in vogue to do. Certainly, race came up as a subject to talk about but it happened very organically: randomly and without pretense. That had something to do, maybe everything to do, with my coming from a biracial background: my mom was Mexican; my dad was Anglo. Both are now deceased. And, if they were both alive and cognizant, I imagine they’d have a well-earned laugh over some of what they’d find to be an excess of sensitivity on display today. Where were all the well-wishers when we needed them? It’s an interesting question. For Powell, he is focusing on his being white and the burden he believes he has. Powell believes that white children should not be afforded an extended time of innocence since non-white children never had such a privilege. There’s plenty to unpack there and fodder for much needed discussion.
In the shadow of a giant.
As a child, I also know for a fact that I became political all on my own, and after a relatively extended time of relative innocence (kids are less innocent than adults generally care to admit). I know that I was certainly curious about the news by age ten and picked it up in earnest by age thirteen. Looking back on it, I see no harm, no foul on that count. I don’t blame my parents for any apathy or neutrality over issues of the day. I think my mother suffered enough, as I did by extension and in my own right, from countless forms of racism. And I don’t think I would have benefited from any critical race theory workshop. That said, we need to be willing to talk it all out and think it all out as much as possible. We often seem to forget how important it is to make our actions count. After all, we’re only here for a small pocket of time.
Make some “good trouble.”
So, how does the cartoonist who was a part of such a consequential work as March address questions of race? It’s one step at time! How does one move in the shadow of such a giant as John Lewis? With purpose! Nate Powell, without a doubt, has created a work of honesty and bravery with his latest book. Yes, bravery because amid all the coded language and distraction, there remains that veiled, and not-so-veiled, threat of violence. It’s like you are being dared to be true to yourself and stand up to the current batch of hate crime bullies. These are bullies that John Lewis understood very well in his time. Sadly, his pocket of time is now over. The baton has been passed on to another generation. We may collectively stumble along the way but, as John Lewis would say when you see something that is not fair: “Find a way to get in the way.” Powell has learned from the best.
Save it for Later is available as of April 6, 2021. For more information, visit Abrams ComicArts.
Ted Rall is a journalist, cartoonist, and columnist. Ted Rall’s new graphic novel, THE STRINGER, is a political thriller that will appeal to readers who enjoy a full-bodied story with twists and turns. Bringing in his own experience as a war correspondent, Rall’s book has a gripping authentic voice that takes the reader on a wild ride with food for thought.
After so much hard luck, Mark Scribner could really use a lucky break. Be careful what you wish for.
A movie version of The Stringer would be something like George Clooney in Three Kings or Jeremy Renner in Kill the Messenger. It’s a gritty vibe; a fable for our overly-disruptive times. Here is an interview with Ted Rall where we cover the creative process and discuss Rall’s collaboration with artist Pablo Callejo as well as tackle the media and political landscape. Today was a particularly interesting news day with President Biden’s first formal press conference. Rall has some observations on that too. This is a guy who takes on the left with as much gusto as he does the right. It depends upon the issue and who is in power. One way or another, you may disagree with him but you can’t say his thinking is sloppy and he’s just phoning it in.
Forget the old tropes. A younger woman and an older man who are just friends.
There’s a friendship that Mark strikes up with Margreet, a female reporter half his age. Running counter to the old romance tropes, they remain just friends. It’s not something that’s emphasized. It just is. And it’s nice to see. Rall is highly opinionated but that doesn’t mean his work is heavy-handed. Often, what I see in Rall is someone who is simply daring to talk about a better world–and that can run against various interests; and a lot of people’s tendency to leave well enough alone. Rall’s attitude is “don’t settle for the lesser of two evils.” Don’t settle on corporate lies. Just don’t settle. That approach is what fuels the best of Rall’s work and that’s what you’ll find in The Stringer.
On Wednesday, 11 March 2020, the World Health Organization declared COVID-19 a pandemic. Life as we’d known it had changed forever. We are all still in this together with renewed hope and resilience. Many of us became creative. And for many of us who are already creative, we’ve found ways to explore further, and seek out joy, humor and grace. I spent 2020 completing a special graphic novel project as well as this whimsical tribute to the New York Egg Cream. You can get the book in print and on digital. Sometimes You Just Want an Egg Cream adds up to a neat showcase of artwork as well as a guidebook tour involving New York history, culture, and egg creams. It is a long time coming and it feels like the perfect time is now to share this with you.
Sometimes You Just Want an Egg Cream!
Briefly, an egg cream is an amazing soda drink, preferably chocolate. But within that simple mix of milk, seltzer and syrup, all kinds of dreams and memories are made. It was back in the ’80s, during that young lean time, that I made my first visit to New York City. I was coming from Houston, which is a hell of a big city but with a small town character if that makes any sense. I was looking forward to roughing it for a couple of weeks and staying in the no-frills yet intellectually lively 92nd Street Y. What I was not expecting was to have the airline lose my luggage! So, there I was nearly naked except for the clothes on my back for two weeks with the mean streets right along with the cultured streets ahead of me.
A book devoted to the egg cream!
Well, I was young and full of energy and imagination. I gorged on all kinds of sights and sounds. I had my list of things to see and do based upon all kinds of reading I’d done: Carnegie Hall, Lincoln Center, the Met, Broadway, the Strand, Coney Island, St. Marks Place! And, moving along at a quick pace, I invited it all in: high and low; bright and dull; big and small; euphoric, melancholic, erudite and electronic. Brash youth that I was, I went for the people’s food, not fancy-schmancy. I was still many years away from taking any notice of Michelin ratings. I delighted in street vendor hot dogs and pizza by the slice. In fact, I still love that grub! And, in my young dewy-eyed state, my mind was first blown to the charms of the knish at Yonah Schimmel Knish right along with the awesome experience of pastrami at Katz’s Deli, and the delectable high of the egg cream at Gem Spa–as well as at Lexington Candy Shop! I was as much in love with the Upper East Side as I was with the Lower East Side! Ever since, whenever I visit NYC, I stop by somewhere and have an egg cream, which is what led me to create this book. Recently, I even connected with Gem Spa and they have some of my art on sale at their site. So, one thing leads to another!
Gem Spa, an East Village legend!
I also have related items, like cool prints and t-shirts, which you can buy right here. And I will keep playing around with this. I foresee more books and related events. If you get the book, you’ll see what I mean. I should also add here that I fully encourage you to buy one of my New York Egg Cream t-shirts and then post a photo of you wearing it, preferably while having an egg cream at one of my favorite spots in NYC. Who knows, it could happen! You might be reading this right now and thinking that would be a pretty rad thing to do! And so the egg cream revolution is on!
Lexington Candy Shop, an Upper West Side classic!
I will definitely post again items from the book and hopefully start a whole big wonderful New York Egg Cream conversation! What is your egg cream memory? I’d love to know. You can comment here or contact me directly. And join the egg cream club!
The Stringer. written by Ted Rall. art by Pablo Callejo. NBM Plublishing. 2021. 152 pp, $24.99
Ted Rall has certainly done his homework, and then some, with his latest graphic novel, The Stringer, published by NBM: the story of a gritty hard-working newsman who turns to the dark side. Many general observers recognize the name of Ted Rall and recall him for his audacious muckraking political cartoons. What you may not be familiar with is Rall’s own experience in the field as an independent war correspondent. Check out these titles, also published by NBM: To Afghanistan and Back, from 2003, and Silk Road to Ruin, from 2014. Rall has twice won the Robert F. Kennedy Journalism Award and has been a finalist for the Pulitzer Prize. So, when someone with the stature of Rall writes a satirical graphic novel, it’s going to be a page-turner.
D-Day: remembering honest war reporting on the front lines.
This is not the first time that Rall has teamed up with Pablo Callejo doing the artwork. Check out the bohemian memoir, The Year of Loving Dangerously, from 2009. Between Rall’s rollicking narrative and Pablo Callejo’s spare and measured style, the reader gets an immersive and truly engaging story. Rall is an idealist at heart with a passionate drive to seek the truth. This graphic novel, at its core, has an overwhelming nihilistic force at play. Rall navigates the narrative through a variety of high and low points. Like Walter White, in Breaking Bad, this is a character study about an essentially good man, in the family business of revering the Truth, only to find himself later in life striking a devil’s bargain that becomes more complicated as he must continue to feed the beast.
At the twilight of when we could still believe.
This graphic novel gets its title from what has been known in journalism as “stringers,” the cub reporters sent out into the field to gather up facts and quotes that they phone back to reporters in the newsroom to turn into final stories. The reader follows young Mark Scribner as a boy reporter dutifully being a stringer. As the narrative unfolds, Scribner must face the fact he’s been sort of spinning his wheels, not much more than a glorified stringer for decades. What he does next lifts us off into a full-bodied story: full of intrigue, like the murky zone between Ukraine and Moldova; and finely-etched drama, focusing on Scribner’s personal journey.
“More people follow Twitter than read The New York Times and every other newspaper combined.”
Ted Rall has always had a zealous approach, compelled to speak truth to power. The story of newsman Mark Scribner is a metaphor for what has happened to media in the last forty some years. In a sense, it’s a metaphor for what has happened to all of us: distracted, disrupted, disconnected. Print media has been on the decline for generations, much longer than we may care to admit. The internet and social media gobble up our time; slice and dice our information. The role of the professional gumshoe reporter has been virtually squeezed out of existence. So, when we now demand those voices “speaking truth to power,” we often simply resort to gorging on opinions we feel most comfortable with, often originating from corporations more than happy to keep us stoned on infotainment.
All bets are off.
Alright then, someone like Mark Scribner can’t afford to be the good guy anymore. Scribner is a highly-trained media animal. If he can no longer play by the rules, then he knows of ways to manipulate and exploit news and world events–and become wealthy and famous in the bargain. It all adds up to a delicious read. This is a story fueled by zeal and tempered by two seasoned storytellers. Ted Rall’s writing and Pablo Callejo’s art brilliantly provide the reader with a brash and authentic political thriller. Highly recommended. Seek this out.
Jerome and Henry discuss writing, history, and J.D. Salinger.
Just about any reader has an opinion about J.D. Salinger. In his latest novel, Sergeant Salinger, Jerome Charyn takes that most celebrated and enigmatic of writers and crafts a story about history and heartbreak. It is about history nearly lost. It is about history relived. It is about heartbreak of the most sorrowful. In the end, this is a dazzling work that will take you on trip that will give you a more vivid sense of World War II and the journey that led J.D. Salinger right to the precipice. Was J.D. Salinger a great writer. Yes, he had that magic touch, that artistic vision. What does Jerome Charyn do with this story? As Jerome was adamant to tell me, this is not a story seeking to find out who J.D. Salinger was in any conventional sense. This is, after all, a work of art, a work of fiction.
Slapton Sands was a debacle that was almost covered up and lost to history.
For me, I just want to share with you a marvelous novel. There’s so much to enjoy in the way of masterful writing. I cite one example here where J.D. Salinger finds himself levitating up and flying over Central Park on his way to Belvedere Castle. He is transformed back into a boy along with his sister, Doris, becoming a young girl again. They confront a sinister figure, a witch, who is actually Salinger’s estranged wife, Sylvia. Doris is puzzled when the witch invites Doris to a lesson she can’t learn in any school. What could that be? asks Doris. “What can you teach me?” The witch looks at Doris and replies, “How not to exist.” I know this is out of context but I trust you feel a chill from this.
J.D. Salinger was there for D-Day on Utah Beach.
Another reason you may enjoy my conversation with Jerome Charyn is the historic ground that we cover. We do talk some about literary theory and such. But, I think, a lot of you will find more than just interesting a brief overview of World War II. Yeah, in short order, we end up covering a lot of ground. But it couldn’t be helped. J.D. Salinger covered an enormous amount of ground during his service in the war. Salinger witnessed more combat than some of our most celebrated writers on World War II. Salinger was there to observe the calamitous Exercise Tiger, the D-Day landing at Utah Beach, and the liberation of the first Nazi concentration camp. Salinger saw so much, too much. And it sort of broke him. But not so much as to keep him from going on the complete a small but significant body of work, which includes, of course, The Catcher in the Rye.
J.D. Salinger was also there for Hitler’s last stand at the Battle of the Bulge.
Given our conversation, and my continuous searching to understand, Charyn summed it up nicely towards the end of our talk. “As for meaning, I don’t know what the ‘meaning’ is. I know what the music is. The music becomes the meaning. I’m not a philosopher.” Yeah! Kick-ass writing without apologies. For Jerome, the war, J.D. Salinger, New York City from a certain era, all of this Jerome lived and breathed himself. So, creating fiction from it came easy to him. “History is a very strange kiss that lands on you and invigorates and destroys. It is the past that I’m most interested in. It is the past that I try to summon up in my own way.” J.D. Salinger wasn’t a person to dissect and create a profile from. For Jerome Charyn, J.D. Salinger was a haunted house which he moved into and built some solid fiction from. Bring your A-game reading to this one!
And J.D. Salinger was among the first Americans to witness the liberation of the first Nazi concentration camp, Dachau.
Be sure to view is conversation. I kid you not, you’ll be glad to did. And, if you have a moment, your comments are always welcome.