Tag Archives: Publishing

Review: MORE SEASONS OF GARY by Matt MacFarland

More Seasons of Gary. Matt MacFarland. zines + things. 2021. 48pp. $7

Matt MacFarland displays a disarming charm in how he presents himself, his family, and his father in particular in his latest book. This is a little comics memoir in the tradition of auto-bio alt-comics: a self-portrait of the cartoonist, warts-and-all.

It’s interesting to note that this story is told in segments, four panels per page, comic strip-sytle. MacFarland uses the comic strip format in order to contain the narrative. What I mean is that this isn’t a collection of previously serialized work. I see part of it on Matt’s Instagram but not as being posted in a deliberate way like a webcomic. He takes a more casual approach which I really dig. In fact, a lot of what he’s posting right now are pages from his Scenes from a Marriage series which is hilarious. Matt has found a method to keep things fresh and concise by using the comic strip format to tell his story. He’s also taking advantage of the fact that we’re so used to reading page after page of comic strips that have been collected to tell a bigger story. Matt’s new book features his father, told in a series of comic strip moments. This format echoes Art Spiegelman’s own recollections of his father albeit on a small compact scale. Matt has narrowed down the stage to the most essential: fleeting moments, heavy with meaning, tied together by the seasons. What emerges is a portrait of the artist’s father, a complicated guy, both difficult and lovable.

By keeping to this comic strip format, MacFarland provides us little windows into his father’s soul, one self-contained little story per page. MacFarland has a lean and crisp way of drawing and storytelling. This series of four-panel comic strips grows on you as one detail is revealed and builds upon the next. We begin with the fall. The first two strips set the tone depicting Matt’s father, Gary, as a less than sensitive guy, with an offbeat sense of humor. The opener shows Gary as a young boy obsessed with creating monster masks. The one after that has Gary describing a horror movie he especially liked to 6-year-old Matt. After Matt screams that he wants to see it, Gary shows him a particularly disturbing scene from it on tape that leaves little Matt in tears.

Truth be told, Gary is hardly a bad guy and Matt doesn’t pick him apart. He’s not digging for dirt but for understanding about his father–and his own life. As we progress, we come to find out that Gary is an alcoholic but that is only part of his story and it doesn’t derail the narrative as one might expect. Mixing up the chronology of events also helps in letting details emerge in a less than obvious way. In a natural course of presenting anecdotes, the reader gets to see Gary interact with an array of people and circumstances. MacFarland manages to navigate a series of challenging periods: the divorce of his parents; the start of his own family; and the death of his father. I especially like a moment Matt has crafted where he’s hiding in a bedroom crying over the news of his father’s death while also calculating in his mind when the dinner guest will finally leave. Of course, when he returns to the kitchen, she’s still seated at the dinner table. That’s classic Matt MacFarland, with a dash of dry and dark humor.

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Paul Buhle on Comics: A REVOLUTION IN THREE ACTS

A Revolution in Three Acts: The Radical Vaudeville of Bert Williams, Eva Tanguay and Julian Eltinge. By David Hajdu and John Carey. Foreword by Michele Wallace. Columbia University Press, 2021. 166pp, $19.95

Guest Review by Paul Buhle

This is an extremely remarkable comic, at once a historical look at the great and hugely popular genre of vaudeville,  and a treatment of the margins, racial and gender, that pushed closer to the surface than radio or films would reach before the 1950s.  David Hajdu is a distinguished music critic and a professor at Columbia University. His artistic collaborator, John Carey, less well known,  worked at Greater Media Newspapers for decades. Neither has produced a comic until now, but Hajdu wrote an insightful history of comics entitled The Ten Cent Plague, more than touching upon the condemned but lively elements of popular culture.

Bert Williams, “the son of laughter” in contemporary advertising of Vaudeville, was almost certainly the first native of the little island of Antigua, then still in the British West Indies, to make himself a major star in the US. He sang, danced, told jokes, charmed (white) audiences far and wide,  and became himself a producer of shows starring himself. He exhausted himself and died young, just as he reached his apex of success.

Eva Tanguay is remembered for one phrase, “I Don’t Care!” hailed by Andre Breton and the surrealists as capturing the spirit and radical possibilities embedded within popular culture. Flagrantly transgressive, she challenged every limitation of the lingering Victorian culture, dressing outlandishly, for instance, wearing pennies glued to a revealing body suit at the moment when the Lincoln Penny was introduced and fleeing when the police arrived to arrest her. She joined Williams on stage and drove audiences wild.

Cross-dressing Julian Eltinge completes this narrative. By way of Harvard and Hasty Pudding, he starred as a female performer, singing and dancing up a storm. Holding nothing back, he  openly proclaimed his sexual passion for a black man (doublng the provocation), with himsef as “The Sambo Girl,” on stage and in the sheet music of the day. The very idea that Eltinge could publish a magazine under his own name offers a transgressive moment in time and in the rising pulp magazine craze.

The genius of the comic intertwines the stories, sharing the threats of the cops and other thuggish males. Tanguay and Williams were widely rumored to be lovers, but the rumor that she was to marry Eltinge inspired no limit of mean-spirited satire (“who will wear the breeches?”) and some good spirited as well. But movies, even without the severe restrictions to come later, were just too limited for this leap out of propriety. (Bert Williams was also in several film shorts, but these are lost.)

The Art of Revolution in Three Acts finds John Carey perfectly suited with a greyish, sketch-like style, offering a kind of fluidity suitable to the subject. He aspires neither to realism, in the ordinary sense, nor to the altogether imaginative comic-art style adopted or adapted in modern “art” comics. Rather, it is his own.

The high spirits of these three characters, the visions they had of themselves and the crushing reality of a world unsuited for them, comes home collectively as we follow their lives. Eltinge, an entrepreneur in his own mind, bought a large chunk of land in California’s Imperial Valley, with a vision of a resort and a theatrical complex. He was quickly overextended, when a film showed his female impersonation at a disadvantge: society was not ready, although in failure, he inspired other stage female impersonators across the US and Europe. Tanguay, perhaps the luckiest, had a series of prominent affairs, passing before she could complete a tell-all memoir.

Paul Buhle

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Interview and Review: Candy James and the Archie and Reddie series

Dynamic and Delightful Candy James!

Candy James is a husband-and-wife creative duo originally from Hong Kong and New Zealand, but now living on a thickly forested hill in Ballarat, Australia. They are toy, graphic, and garden designers who love to make funny books for children. You can learn more about all their fun creative activity on their Instagram and on their website. This is the perfect time to get to know Candy and James Robertson and their work since they have just launched two new books for early readers (ages 4-8), I Really Dig Pizza! and We Will Find Your Hat!, published by Razorbill, an imprint of Penguin Random House. Those are the first two titles of the Archie and Reddie series.

First two titles to the Archie and Reddie series.

Who is Archie and Reddie? Well, they’re a couple of foxes. A bit of an odd couple, you might say, with Reddie being small and outspoken; and Archie being big and unsure. Together, they make it work, sort of like Laurel & Hardy but different. These are two foxes we’re talking about after all. Maybe you’re familiar with the Elephant & Piggie books, by Mo Willems; or the Narwhal and Jelly books by Ben Clanton. Think quirky humor for kids and you’re on the right path.

A nimble use of comics to briefly explain a work of comics.

The first book in this series is all about pizza and…dirt. Archie stumbles upon a gift-wrapped pizza in the forest, and wonders who would possibly leave a perfectly good treat just lying around. So he does the only sensible thing and buries it so he can dig it up later for dinner! But with tummy rumbling, Archie discovers Reddie is trying to solve a mystery. It seems she’s found a pile of dirt and wants to get to the bottom of it! Mayhem ensues–along with funny word play, intriguing compositions and a heart-warming story to boot!

Both of these books will engage kids on many levels–not the least of which is hilarious good fun! This is outright uninhibited humor that resonates with young minds. Then add to that the Candy James magic touch, a multi-layered approach to design and storytelling. As you’ll discover during this video interview, both creators have numerous influences that they have masterfully distilled into their work, everything from Moomin to some of the great works of manga from their own childhood, like Dragon Ball. But, most essential to their vision in this series is all the fun they had telling bedtime stories to their daughter when she was an early reader herself. Fast forward to the present, and you’ll find that same child, Poppy, is now a teen and, in fact, loves to create her own comics. What both Candy and James wish to do is keep creating more stories and engaging with readers of all ages. “We hope,” says James, “that we’ve created characters that are strong enough to encourage readers to recite from the books and play as the characters themselves.”

I hope you enjoy the video interview. And for more on the Archie and Reddie series, be sure to visit Penguin Random House.

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Review: ‘Menopause: A Comic Treatment’

“When the Menopausal Carnival Comes to Town,” by Mimi Pond, in Menopause: A Comic Treatment (Graphic Medicine/Pennsylvania State University Press)

Menopause: A Comic Treatment. Edited by MK Czerwiec. Penn State University Press. 2020. 144pp. $29.95

Mimi Pond was a queen for the night at the Eisner Awards this year as she was the winner in the Short Story category for her take on menopause. Yes, folks, you heard it right, a cartoonist won a prestigious industry award on a subject that has gotten little recognition over the years outside of a Joan Rivers comedy act. What’s more, Mimi’s story is part of the book that also won an Eisner Award–in the Best Anthology category! We all need to get over ourselves on so many levels more than ever. The truth is that we all have bodies (who knew?) and they go through changes as we steadily make our way to our final stop. There is no denying that a woman’s body goes through hell. But it’s not left just to me to say that. This book says it in a variety of ways, both vivid and hilarious.

Running off with the circus!

There is so much politics, a lot of it quite toxic, attached to everything about us, including our bodies. What’s refreshing about this book, in that regard, is that it’s engaged in some primal truth. That is what is so compelling about Mimi Pond’s short story as the main character must confront who she is at the most basic level. She’s mad as hell and she’s not going to take it anymore! This comic is one of those in-your-face show stoppers that takes you out of the page, out of the book, all the way to the Eisner Awards. In the story, a mother and adult daughter are wandering around an old-fashioned carnival when a carnie lures them into a show about empowerment. On stage, there is a troupe of naked middle-aged women doing a spoken word act. The mom is overcome and joins the group on stage, strips off her clothes, and vows to run away with the circus. The mom sees her mad dash as her last chance to shine, to live her life. Psychological road blocks can be every bit as real as anything else standing in the way of fulfillment. One is left with a universal urge to push one’s way through no matter what. And, if dad’s hot casserole gets cold, so be it!

Menopause: A Comic Treatment

With Mimi’s raucous story leading the way, this collection boasts an array of significant work from 28 contributors, explaining, and expressing their views, on the many aspects of menopause, from the general to the more specific and personal. This book is another partnership with Graphic Medicine, co-founded by MK Czerwiec, this book’s editor, as well as a contributor under the pen name, “Comic Nurse.” Menopause: A Comic Treatment is the nineteenth book in the Graphic Medicine Series published by Penn State University Press. The following are some more examples from the book. As I say, it’s a great range of work: some are more medically-focused, created by medical professionals, with simple drawings; and some are from seasoned professional cartoonists more invested in a slice-of-life perspective.

“A Slow Intermittent Leak,” by Jennifer Camper

Jennifer Camper’s “A Slow Intermittent Leak” cuts to the chase with a long hard look at the menstrual cycle, from first period to last. For many men, the reality of blood alone makes periods a highly taboo subject. Of course, those men need to get a grip. Camper is a professional cartoonist and it clearly shows. This is a highly organized and masterfully composed work. The combination of the artwork and engaging prose is a pleasure to read and guides the reader through with humor and grace.

“Burning Up,” by Comic Nurse (MK Czerwiec)

MK Czerwiec’s “Burning Up” is both highly informative and entertaining and is a great example of the power of visual storytelling. For these type of educational comics, art is only part of it and can be pretty simple as it is here. What matters most to the cartoonist is finding just the right balance of words and pictures to best convey the information. Czerwiec’s pen name is “Comic Nurse,” and this piece demonstrates what she is great at: taking challenging subjects and making them relatable. In this case, we follow our main character on a journey of self-discovery and an appreciation of “hot flashes.”

“Surgical Menopause–In Ten Postures,” by Susan Merrill Squier and Shelley Wall

My final sample demonstrates how truly powerful and practical comics can be. “Surgical Menopause–In Ten Postures,” is unique in its specificity as it greatly benefits from two experts in their fields. It is written by Susan Merrill Squier, a professor of English and Women’s, Gender, and Sexuality Studies at Penn State. It is illustrated by Shelley Wall, a medical illustrator and assistant professor in the biomedical communications graduate program at the University of Toronto. The comics coming from the Graphic Medicine community, which this book is a prime example of, are said to provide insight to medical professionals that they typically do not get. It is through the combination of Squier’s eloquence and Wall’s precision that we get a window into the highly idiosyncratic individual. Too often it comes down to doctors vs. patients when, in fact, we’re all just humans. It takes a very sophisticated comic like this is prove a simple truth: we’re all vulnerable and we all need to be carefully listened to. Ironically, despite how articulate this comic is, it is speaking to how easy it is to not speak properly or to be listened to properly. The prime example in this comic: the doctor, in an all too matter-of-fact tone, asks the patient, “Do you want to keep your uterus if you’re having your ovaries removed?” The patient, in an all too defensive posture, replies, “I am not my uterus.” End of discussion. Uterus removed. Oh, but the patient didn’t really mean it, wishes the doctor had questioned her words and now regrets having her uterus removed.

About the Editor

MK Czerwiec, RN, MA, is the artist-in-residence at Northwestern University’s Feinberg School of Medicine and the cocurator of GraphicMedicine.org. She has served as a Senior Fellow of the George Washington School of Nursing Center for Health Policy and Media Engagement and as an Applied Cartooning Fellow of the Center for Cartoon Studies. She is the creator of the graphic memoir Taking Turns: Stories from HIV/AIDS Care Unit 371 and coauthor of Graphic Medicine Manifesto, both published by Penn State University Press.

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Filed under Comics, Comics Anthologies, Graphic Medicine, Graphic Recording, Penn State University Press

Small Press Expo: 2021 Ignatz Awards Nominees; SPX online kicks off September 18, 2021

The Ignatz Awards!

Bethesda, Maryland – The Small Press Expo (SPX), the preeminent showcase for the exhibition of independent comics, graphic novels and alternative political cartoons, is pleased to announce the 2021 nominees for the annual presentation of the Ignatz Awards, a celebration of outstanding achievement in comics and cartooning.
Presented virtually, SPX 2021 will feature a full slate of programming along with a livestream of the Ignatz Awards ceremony.
Once again the Ignatz jurors have selected an amazing slate of nominees that reflect the diverse voices comprising the SPX community. On behalf of the Executive Committee, we want to thank the jurors for all of their hard work, and to congratulate all of the creators for giving comics readers these incredible works during such trying times. Good luck to everyone!!!! – Warren Bernard Executive Director
The Ignatz Awards are a juried festival prize, the first of such in the United States comic book industry. Traditionally, the winners are determined by attendees of the in-person event. This year, as was the case in 2020, voting is open to all who register to receive a ballot.
Ignatz Awards nominees are determined by a panel of comics professionals. The 2021 Ignatz jurors are Sunmi, Nguyên Khôi Nguyễn, and Daniel Elkin.
The Ignatz Awards ceremony will be live-streamed via the SPX Youtube channel at 8PM on September 18.
Additional Information about the nominees can be found at www.smallpressexpo.com.

Outstanding Artist

Ashanti Fortson – Leaf Lace (Hiveworks)
Lee Lai – Stone Fruit (Fantagraphics)
Arantza Peña Popo – Lavender Scare (self-published)
Damien Roudeau – Crude (Graphic Mundi)
Karl Stevens – Penny (Chronicle)
Outstanding Anthology
A Queer Prisoner’s Anthology IV – ed. by Casper Cendre (ABO)
Bystander (Kadak Collective)
Confined Before Covid: A Pandemic Anthology by LGBTQ Prisoners (ABO)
First Wave: Comics from the Early Months of China’s Outbreak – ed. by Xinmei Liu (Paradise Systems)
Glaeolia 2 (Glacier Bay Books)
Outstanding Collection
Sami Alwani – The Pleasure of the Text (Conundrum Press)
Ancco – Nineteen (Drawn & Quarterly)
Abby Howard- The Crossroads at Midnight (Iron Circus Comics)
Tess Scilipoti – Do You Think I Look Like a Girl? (self-published)
Kuniko Tsurita – The Sky is Blue with a Single Cloud (Drawn & Quarterly)
Outstanding Comic
EA Bethea – Francis Bacon (Domino Books)
Ashanti Fortson – Leaf Lace (Hiveworks)
Maddi Gonzalez – Rhapsodie (Fantagraphics)
Adam Szym – A Cordial Invitation (Fantagraphics)
Dominique Duong – The Dog & The Cat (self-published)
Outstanding Graphic Novel
Alex Graham – Dog Biscuits (self-published)
Jim Terry – Come Home, Indio (Street Noise Books)
Lee Lai – Stone Fruit (Fantagraphics)
Sloane Leong – A Map to the Sun (First Second)
Nico Harriman – Mr. H: Portrait of a High School Art Teacher (self-published)
Outstanding Minicomic
Brendan Leach – Slum Clearance Symphony (Czap Books)
Casey Nowak – Bodyseed (Diskette Press)
Arantza Peña Popo – Lavender Scare (self-published)
Whit Taylor – Montana Diary (Silver Sprocket)
Leda Zawacki – The Drain Pipe (self-published)
Outstanding Online Comic
Michael DeForge – Birds of Maine
Ashanti Fortson-Leaf Lace (Hiveworks)
Shing Yin Khor – I Do Not Want to Write Today
Susannah Lohr – Shadows Become You
Alec Robbins – Mr. Boop
Outstanding Series
Ex.Mag (Peow Studios)
Malarkey – November Garcia (Birdcage Bottom Books)
Ley Lines – ed. by Kevin Czapiewski (Czap Books)
Tongues – Anders Nilsen(self-published)
A Queer Prisoner’s Anthology IV – ed. by Casper Cendre (ABO)
Outstanding Story
Raquelle Jac – Misguided Love from Now #9 (Fantagraphics)
Ancco – Nineteen (Drawn & Quarterly)
Yeong-shin Ma – Moms (Drawn & Quarterly)
Freddy Carrasco – Personal Companion from Ex.Mag #1 (Peow Studios)
Stan Stanley – The Hazards of Love (Simon & Schuster)
Promising New Talent
Royal Dunlap
Nico Harriman
Zoe Maeve
Pa-Luis
Tess Scilipoti
The Ignatz Awards ceremony will be live-streamed on the SPX Youtube channel. Further details on presenters will be given at a later date.

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Book Review: ‘The Last Mona Lisa’ by Jonathan Santlofer

THE LAST MONA LISA

The Last Mona Lisa. Jonathan Santlofer. Sourcebooks. 2021. $27.99

It was back in 1987 that I made my first visit to Paris, which included viewing the Mona Lisa. My more recent visit was in 2019. I can tell you that the ’87 visit was not like the uber-spectacle it is now. It wasn’t even in the same location. As I recall, it was a huge square of a space and the Mona Lisa was housed in a booth that made me think of a carnival fortune telling machine. The gatherings of people were left to do as they pleased and behaved like instinctively polite starlings. People seemed to know just how to behave! Now, it’s like a cramped and narrow airport terminal with everyone jockeying for position, queued up for a few seconds of viewing, and then directed off by guards. Really, I’m not kidding. Anyway, I had to say that because I figure it will strike a chord with some of you and it’s a perfect opening observation to a book that I believe would satisfy a lot of the curiosity out there for the mega-famous painting. The book is entitled, The Last Mona Lisa, by a truly captivating writer, Jonathan Santlofer. I’ve been intrigued by Santlofer for some time as I’ve observed how well he’s done as both an artist and a writer. I was quite moved by his memoir and that led me to check out some of his crime fiction, which is a lot of fun. His new book takes his skills and passions  and distills them into an urbane thriller that will stay with you just like a memory of your favorite dinner overlooking a beautiful sunset. So, yeah, it’s that kind of book. In fact, if it’s not already, it should be stocked in the Louvre gift shop. And, yes, the museum is now open, albeit with health restrictions. Also, I should add here, this is a book that is ideal for any book club as you may imagine.

Mona Lisa Mania!

The Last Mona Lisa is about the greatest museum heist of them all, the theft of the Mona Lisa by a Louvre museum guard in August of 1911. It was a sensation in newspapers all over the world and catapulted the Leonardo Da Vinci painting to world-famous masterpiece status. Santlofer takes that story and weaves a narrative that explores the inner life of the thief, the frustrated artist Vincent Peruggia, and present day attempts by his great-grandson, Luke Perrone, along with a rogue INTERPOL detective among others, to unravel the mystery behind the details of this most unusual museum heist caper. All this investigating leads to the possibility that the real Mona Lisa was never returned to the Louvre and now some people will stop at nothing to get the real thing. Among the various subplots, it’s the story of Luke, the great-grandson of the original thief, that leads the way, neck and neck with following the drama of Vincent, the thief and aspiring celebrated artist.

It’s fun to follow Luke’s progress as an unlikely hero who grows into his role as a sleuth. He stumbled upon the story of his infamous great-grandfather when, as a boy, he’d been tasked with cleaning out the family attic. One look inside a chest reveals the tell-tale mugshot of Vincent Peruggia which triggers a lifelong obsession with finding out the truth about the thief of the Mona Lisa. Fast forward to the present and Luke finagles his way to gaining access to a rare books section in a prominent library in Florence, Italy. It is there that he becomes involved with a mysterious beauty, a striking blonde who just so happens to be pursuing her own scholarly search at the same table that Luke is camped out at. This, of course, sets in motion some of the key elements needed for the romantic thriller that ensues.

Santlofer paints a portrait of Vincent Peruggia as the classic malcontent would-be bad boy artist who just so happens to fall into the company of Pablo Picasso and other notable figures of the Parisian art scene, like Max Jacob. Vincent Peruggia is no Vincent van Gogh! Instead, he’s a somewhat competent artist of the most obvious subject matter like pretty still life paintings. He’s resentful of the avant-garde cubist work by Braque and Picasso which he dimly understands. Vincent is the Lee Harvey Oswald of the art world, destined for infamy.

The Mona Lisa was indeed “stolen” in 1910, a year prior to the famous 1911 heist.

The building blocks to Santlofer’s novel are all true. The Mona Lisa was, in fact, “stolen” a year prior to the celebrated heist by Vincent Peruggia. Santlofer provides a news clipping of the story that sort of just came and went in 1910 but, without a doubt, documented a robbery of some kind. It’s a fine piece of detective work on Santlofer’s part as it doesn’t readily come up on a casual internet search. For whatever reason, that story ended up an odd blip without a follow-up. Nothing was ever officially said again about any theft. Not until the story that would not go away, the celebrated story of 1911. It is this incongruous situation with the ignored “theft” of 1910 that has fed countless rumors and conspiracy theories. It is this stranger-than-fiction phenomena that was just waiting to be plucked and processed into Santlofer’s latest delightful page-turner.

For more information, and how to buy this book, go to Sourcebooks.

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Interview: Peter Morey and Rebecca K. Jones

Peter Morey and Rebecca K. Jones are two very inventive cartoonists. I chatted with the couple via Zoom. I’m in Seattle and they are at their home in London. It was great to chat with two creatives who so neatly compliment each other’s work. It’s a fair observation given that they manage to do so well with similar subject matter that each tackles in a unique way. Both Peter and Rebecca explore social commentary and the human condition (Endswell, Boomerang). Both Peter and Rebecca let loose with wild and whimsical tales involving animals (Animal Spirits, Cat Disco). And, it’s clear to me that they enjoy what they do. I first stumbled upon their work on a visit to Orbital Comics back in 2019.

ENDSWELL by Peter Morey

I recently reviewed Peter Morey’s Animal Spirits and Endswell so you can definitely get a good sense of what he’s doing from that. I will say here that what propels the narrative of Endswell is a freewheeling play with the eccentric dynamics of a specific family. That requires storytelling freedom thus the fact it’s called a “loosely-based autobiographical work.” Thinking about Peter’s work, and then comparing it with Rebecca’s work, led me to ask them to chat a bit about British humor in general, how it runs the gamut from droll and dry to crazy and absurd. Part of the answer is that this tradition is just baked right into what they perceive as funny. They embrace the strange and so do I. Anyway, far be it from me to put anyone on the spot. I basically see all good work in comics as feeding off some touch of strange.

BOOMERANG by
Rebecca K. Jones

I’ll segue over to Rebecca’s work and a moment which speaks so well to this quirky understated quality I’m talking about. It’s a moment in Boomerang (the first part to a longer work-in-progress) when the characters are enjoying a little fair at a local park filled with various random performers and the like. One such person is there lecturing about his peregrine falcon. And just as he begins his talk, the bird seems to take that as a cue to fly away, perhaps never to return again! It’s a splendid poetic pause referring back the main character’s own dilemma.

Here’s the interview…

Peter Morey

@petermoreysketches

Rebecca K. Jones

@rebecca_k_jones

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Martin Olson Author Interview: The Conquest of Heaven

We turned to the subject of the performance artist Brother Theodore and that helped connect the dots to Martin Olson‘s new book, The Conquest of Heaven, which I’ve reviewed in my previous post. It’s an intriguing and hilarious exploration of the addled yet persistent mind of the Lord of Darkness himself. On one level, it’s a very funny book. On a deeper level, it’s every bit the satire on what we humans let ourselves believe and what can pass for reality. Serious followers of comedy will most likely already be familiar with Brother Theodore. I kick myself now, because I can’t say I knew about him until recently and that’s only because I found out about him from Martin.

My introduction to this comic is this clip from The Merv Griffin Show. I can’t say that I was ever a big fan of Merv Griffin. He seemed to be the sort of talk show host that was easily parodied by other comics, like Martin Short. But now I come to see that Merv Griffin was pretty hip to groundbreaking comedy as he was an early supporter of Brother Theodore. If you are new to him and you view this clip, you can’t help but think that Andy Kaufman was taking notes….

So, if you view the clip, this will make more sense. In a nutshell, here you have one of the early wave of nontraditional comic artists. Brother Theodore was weird but that was the whole point of his act, to express the utter absurdity of life. As Martin points out, it’s nihilistic material that you make your way through to a redeeming payoff. And so I see some of that going on in Martin’s new book with Satan as the main character, an outrageous creature saying the most offensive things, but alternating with some poetic whimsy. Anyway, I wish I’d taken my search a little further and viewed the more recent clips of Brother Theodore in the ’80s on Late Night with David Letterman. Ah, that would have been more recent material to talk to Martin about. The thing is, this was simply a potential question I had pinned to the back of my mind. As it is, I did get a wonderful response regarding the above clip which includes Martin recalling what it was like for him as an impressionable 10-year-old to see this crazy and weird humor.

For those who are fascinated by the writer’s craft, we also chatted about the great science fiction writer Robert Sheckley. In fact, that’s just before we dived into talking about Brother Theodore. In the case of Sheckley, this is another mad genius who loved quirky humor. There’s a nice moment during our talk when Martin recalls Sheckley’s guiding principle in keeping his stories rich and alive: “Sympathize with all things!” And so Martin finds a way to even sympathize with the Devil!

Okay, that seemed a perfect place to stop but I need to just add that, having read both books in the series thus far, I can confidently say that one compliments the other. To hear Martin confirm that there will indeed be another book to fulfill the trilogy is wonderful news. Martin has, by turns, found himself creating his own universe upon which to comment on the human condition and the like, essentially having endless material to play with on the less than stellar condition of the cosmos. All this brings to mind Douglas Adams, and he did pretty well for himself as I recall.

For more on Martin Olson and his work go right here

Visit Feral Books right here.

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Review: ENCYCLOPAEDIA OF HELL II: The Conquest of Heaven

ENCYCLOPAEDIA OF HELL II

ENCYCLOPAEDIA OF HELL II: The Conquest of Heaven, A Demonic History of the Future Concerning the Celestial Realm and the Angelic Race Which Infests It

Martin Olson. Illustrations: Tony Millionaire & Mahendra Singh. Feral House. 2021. 224pp. $24.99

Martin Olson is one of the best humorists around. Olson is known around Hollywood as one of the nicest and most hard-working of comedy writers. His special brand of satire has made its way to numerous comedy series on HBO, CBS, Showtime, Comedy Central, Disney, and FX. His last book was the critically-acclaimed Encyclopaedia of Hell, which includes a road map for a full-scale demonic invasion of Earth. Now, Olson tops himself with a sequel, The Conquest of Heaven, with Satan leading a coup of Heaven to replace God. Olson’s wry and relentless humor echoes Mark Twain and Ambrose Bierce.

Lord Satan dreams the Hell Cosmos.

This much-anticipated sequel picks up where Olson left off, writing again in the voice of Satan, we follow the Dark Lord’s latest scheme. Conquering Earth was mere child’s play when it comes to taking on the Almighty’s digs. And it’s not long before Satan runs into some difficulties.

After Hell’s army conquers Insignificant Earth and devours the human race in a celebratory feast, Lord Satan reveals that he will now journey deep into the universe to find the throne of the despised Creator. There Satan will depose God and take his rightful place as Emperor of Existence. Now, the secret sauce to making the story work hinges upon the voice of Satan. Again, that’s where the comparisons to literary giants like Mark Twain and Ambrose Bierce come into play. These guys satisfied that career high of nailing it, getting to channel Satan, as it were. And so Olson returns to those dizzying heights with his new book. Let’s dig in and see how he does it.

Lord Zyk battles the ghost of Abra Kadab.

First, you need to establish the character and, in Satan’s case, we’re talking about both a sophisticated creature and an egomaniac at an astronomical level. Satan is supposed to be all-knowing. But he’s also arrogant and pompous. Olson’s Satan maintains an other-worldly tone, full of regal turns of phrase and douchebag observations. In this excerpt, Satan has just set hoof on Heaven:

Yes, it was all Heavenly. All exactly what I hated.

I had come prepared with eye filters to screen out hideous beauty like the fountain. But I was unprepared for the audio component poisoning the air around me. Each festoon of flowers resonated with a different vibratory tone. Together, they emitted a hideously majestic symphony, a loathsome atmosphere of perfect harmony. Its precise overtones made my ears bleed. When I inhaled, the flowers’ sweetness produced cognitive dissonance with the natural filth that composed my lungs. I swooned, heaved deeply, and vomited the remains of a virgin I’d eaten into the azaleas. It was confirmed: perfect harmony was an unbearable toxin to my soul.

Satan is not exactly an easy guy to accomodate, even under ideal conditions, and here he is on arguably his greatest quest. Determined to discover the origin of his own creation, and to murder God, Satan must endure a series of obstacles in God’s Library akin to Alice in Wonderland, as well as match wits with a demented nun. And that’s just part of it, all leading to the shocking secret at the core of Creation. Could it have something to do with Satan? There’s a very good chance of that. To add some extra spice, there’s some other characters thrown into the mix like the equally pompous Lord Zyk and the wayward demon, Abra Kadab. The main thing is the journey which Olson masterfully keeps moving along. In this excerpt, Satan is dueling with a possessed book which has just lopped off his head. He’s later surprised to find out which book he’d been fighting:

Using a combination of my teeth and the vicissitudes of momentum, I climbed up my leg and torso until I reached the bloody stump of my severed neck. Through rapid licking, I then self-cauterized the wound, reconnecting my head to my body, and glared down at the culpable book.

Ironically, or perhaps not, the book that had decapitated me was a novelty edition of my own repugnant masterpiece of evil, Encycolpeadia of Hell, its ancient cover splattered with rose-red, black and purple coagulations of my royal demon blood.

What else might stand a chance against Satan but the very book prior to Olson’s latest misadventure with Satan? This kind of humor will delight readers of any age. Just think of vintage MAD Magazine. Sure, for the youngest readers, there’s the obvious parental discretion to keep in mind. This is, after all, a most unabashed Satan we’re dealing with here. The fangs. The claws. And everything else is all hanging out. But no risk of any exorcism! Honestly, if your kid is reading this, you can thank God that the kid has got good taste.

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Filed under Book Reviews, Humor, Martin Olson

Review: ENDSWELL and ANIMAL SPIRITS by Peter Morey

ENDSWELL by Peter Morey

ANIMAL SPIRITS by Peter Morey

Endswell. Books #1-#3. Peter Morey. Inky Little Fingers. 2018-2021. Bundle: $14.45

Animal Spirits. Peter Morey. Inky Little Fingers. 2020. $8.67

It was just a matter of time before I returned to the work of Peter Morey, which I had stumbled upon during a visit to Orbital Comics in London back in 2019. Even with a haul of comics to look over, I could quickly appreciate Morey’s distinctive and quirky work. Fast forward to the present, now I have three issues of Endswell compared to just the one a few years back. Reading over the first issue, and proceeding all the way through, I was treated to a fuller picture of this ongoing family saga. The first issue seems that much stronger now as it pulls together a number of dramatic bits all revolving around the misadventures of the granny of the clan, the matriarch in decline, who in recent years has brought in a suspicious character as her lover.

The family photo!

As with any sprawling comedy of manners, the first issue introduces the players and sets the tone. We begin with the main character of this loosely auto-biographical work, Peter Morey, as he relates to a therapist a series of events involving his grandmother. Things are a bit of a mess as it seems gran has reached a critical point where her well-being is a concern, not to mention her continued squandering of the family fortune for the sake of her vanity project. Plans must be made. Chickens are coming home to roost. Or, in this case, horses and dogs as gran runs an eccentric farm and kennel known as, Endswell. And then there’s Jim, the creepy ne’er-do-well she’s been living with. All of this is of concern to her now middle-aged children. And yet the worry has somehow spilled over onto Peter, part of the next generation. It’s not completely clear as to why Peter is so preoccupied by this drama other than it’s part of the neurotic goop that has overcome the whole family. Alright then, all very interesting family drama, as Chekhov would concur.

Morey does a fine job of giving a comedic shape to various family source material. In the end, we’ve got a nicely purring machine that sees us into the next couple of issues: one dedicated to the dogs at Endswell; and one dedicated to grandpa, which finds the clan reminiscing on the day of the grand old man’s funeral. So, all in all, this family comedy provides a neat platform upon which Morey can give the reader a bit of his take on the human condition. Morey’s droll sense of humor permeates his drawing style, which has an uncanny distant and ironic quality to it. The characters and settings, much like the narrative, are pared down to a mysterious enigma. Simple shapes and phrases leave much hidden, revealing only what’s needed and leaving the rest up to the reader’s imagination.

A poignant moment for Lady Foxhound.

Now, let’s move past Morey’s family saga to something more whimsical. This is more of Peter Morey’s droll humor but this time it’s animals–and not just any animals, these are power animals out to save the world. Animal Spirits is a deliciously over-the-top mash-up tribute to martial arts and violent manga, I would think. Actually, there’s only a few dollops of blood spilled, all things considered but you need to be mindful of the kiddos reading this, right? Morey’s light and lean line is nicely set off by his bold choice of colors. If you enjoy a cheeky adventure and root for animal rights, then this is for you.

You can keep up with Peter Morey right here.

 

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Filed under Comics, Comics Reviews, Graphic Novel Reviews