In Mongrel, Sayra Begum presents the reader an honest and in-depth look at a Muslim family from Bangladesh. Begum takes a very straightforward, blunt, and fresh approach to issues of race, gender, class, and religion. At the heart of her story is the conflict that the protagonist must navigate as she straddles two worlds coming from her mixed-heritage background: Bengal Muslim on her mother’s side; British-Anglo on her father’s side. In Islam, it is understood that a Muslim man can marry a non-Muslim woman. However, it is forbidden for a Muslim woman to marry a non-Muslim man. And yet this is exactly what happens in Begum’s story. Shuna is the daughter of such a forbidden union. When history is set to repeat itself with Shuna determined to marry David, a non-Muslim man, it is Shuna’s mother who is at the center of the conflict, making unfair and impossible demands upon her daughter.
Drawn is a style that evokes a dream-like sketchbook come to life, the reader is swept up into the immersive world of Mongrel. What strikes me about this graphic novel, what makes it remarkable, is its authenticity, commitment, and vision. It is not often that we, as general readers, have an opportunity to become privy to the everyday life of a Muslim family in such an accessible format as a graphic novel–even though there are well over a billion followers of Islam. With all the heated talk about diversity and inclusion on the table, it’s ironic. That said, we can all be grateful for this insightful work.
Now, let’s allow the book to speak for itself with some samples and quotes from the pages of Mongrel…
“The front door of Shuna’s family home acted as a gateway to Bangladesh. Nothing haram passed through this door, this was a devout house. When Shuna walked through this door, she switched her rebellious face to her pious face, which eagerly absorbed the teaching of the Prophet, striving to be a good Muslim girl. The switching between these two faces became increasingly difficult as they grew further and further apart.”
“‘Yes, yes, yes I’ll marry you!’ I said to David. Although, after the celestial shock wore off and dull reality set in, I realised there was a slight problem. I would have to tell my very traditional parents that I was going to marry a non-Muslim and confess my secret life.”
“It’s my wedding day. My parents are absent. I’m not surprised. Why would my parents want to celebrate their daughter being damned to an eternity in hell fire?”
Ultimately, Begum keeps it real. People are not saints. They can be very contradictory and self-destructive. They can also find a way out and to a healthy place for self-reflection. We are embarking upon a new cycle of calling out authority and demanding all sorts of change. What we mustn’t forget is to dig deeper and calmly remove the obstacles that lead to someone being seen as the Other or as the mongrel. Sayra Begum’s graphic novel is a step in the right direction. As I stated earlier, we don’t often have such a window specifically into the Muslim world. But you can also say that these kind of gems only come around every so often. I think of such landmark works as Blankets, by Craig Thompson, which dissects a Christian upbringing; and I think of Persepolis, by Marjane Satrapi, the last great work to take an idiosyncratic look at any religion in a significant graphic format. These gems take time and they come along it their due time. Now is a perfect time for Mongrel.
A note, especially to readers in the United States: you can find Mongrel at Amazon right here.
Go check out The Revolution of Cassandra for an unusual new work in comics. Here is a quirky story covering some serious subject matter. It reminds you of the fundamental need of making your voice heard. We can take that too much for granted in the United States. Just imagine what it’s like in parts of the world where the government is actively involved in keeping its citizens docile. Filmmaker Eric D. Howell is a fascinating storyteller dude–just the sort of creative person to lead the way with this audacious graphic novel, with Hollywood flair. Howell got into the entertainment business as a stuntman and, through determination, has risen up the ranks to movie director. You may know him from the 2017 Emilia Clarke movie, Voice from the Stone. By any measure, Howell’s career path is an impressive one.
USE MY VOICE by Amy Lee of Evanescence
Enter The Revolution of Cassandra, Howell’s new tale of adventure and idealism about two very different sisters, Moira and Cassie, and how they stumble into a civil war and perhaps lead a revolution. As I say, Howell’s new graphic novel has a very cool Hollywood connection. For starters, Howell is a well-liked and well-connected person. One of his friends is a very cool musician you may know. The Revolution of Cassandra served as an inspiration for Howell’s friend and Grammy Award-winning musician, Amy Lee of Evanescence, as she was writing her band’s new song, “Use My Voice.” The song’s video, directed by Howell, has been viewed more than two million times on YouTube since its premiere in late August.
Cassandra’s toes know the earth.
A few more words about this graphic novel. If you’re looking for an immersive work with a true cinematic look and feel, then The Revolution of Cassandra is for you. It is a mature work in the sense that adults will enjoy it for its more adult and sophisticated sensibility. It’s not for kids, per se. Let’s go with teens and up. This is set, after all, in a very gritty backdrop. There are rough men wandering about who are prone to pushing around women, if they can. That is, unless they’re confronting Moira and Cassie. Overall, there’s an earthy and authentic vibe running through. Moira is more reckless. Cassie is more the Earth Mother with her bare feet, or in Birkenstocks, solemnly gauging the environment.
The Revolution of Cassandra
Now, imagine attempting to stand out at a truly significant comics convention, like Comic Con in San Diego. Well, this is where brand sharing helps. Howell has partnered with Republic Restoratives Distillery and Craft Cocktail Bar in Washington, D.C. to introduce Purpose Rye. Purpose is the first single barrel expression from Republic Restoratives Distillery and is a limited run of only 100 barrels. This 95% rye mash bill has been aged in American oak for nearly five years, imparting rich notes of caramel, spice, hints of smoke and cocoa nibs. Every bottle of Purpose Rye sends a donation directly to Fair Fight Action which protects free and fair elections around the country. Purpose Rye is available for order online via Schneider’s of Capitol Hillin Washington, D.C. Twin Cities bartenders will be mixing Cassandra inspired cocktails this month to inspire customers to “use their voice” to support the social causes that matter to them. For Cassandra cocktail recipes, follow @revolutionofcassandra on Instagram.
Under the right circumstances, and responsibly, alcohol and comics do mix.
It was a lot of fun chatting with Howell and you can check out our conversation by clicking below:
The first chapter of The Revolution of Cassandra is available now for you to view for free.
Barbara Slate spent twelve-hour days working on The Mueller Report Graphic Novel in order to get it out in a timely manner. In fact, her book got mentioned by a Republican representative during the Trump impeachment hearings in the House of the U.S. Congress. Trump went on to be impeached by the House. But there’s more to Barbara Slate. Here is an in depth look at a wonderful career in comics and graphic novels. Barbara Slate is known for being a pioneer in feminist comics. Her first big break came with her character, Ms. Liz, which began on greeting cards (selling over two million), then a comic strip, and even an animated short on NBC’s Today Show! What an honor. And, as I suggest, there is much more like writing for DC Comics, Marvel Comics, Harvey Comics and Archie Comics. Among her many accomplishments in the visual storytelling biz, I was intrigued with the fact that she wrote 150 Betty and Veronica stories for Archie Comics! We cover that in this interview! Barbara was always fascinated with the friendship between these two young women who were so different. And, by the way, what the heck did they see in Archie in the first place? Good question.
Barbara Slate lecture poster
So, as always, I share with you about my own journey to better understand and appreciate the comics medium. I do it by sharing of my own work and by reviewing as much material as I can. And, of course, I do it by putting together special interviews such as this. You can say that I do my best to find a different angle to the people and subjects I choose to focus on. And I have no intention of stopping anytime soon. Not when I have creators like Barbara Slate to help guide the way.
The Mueller Report Graphic Novel by Barbara Slate
Now, a few words on the two recent titles that we feature in this interview. First, let’s cover The Mueller Report Graphic Novel. And then we’ll take a look at You Can Do A Graphic Novel. First off, I think Barbara has definitely created one of those books that becomes a keepsake. I am constantly culling through my books but this one is a keeper. And why? Well, within its 107 pages, it masterfully makes sense of one mammoth of a book that deserves close attention. The actual Mueller Report, a text-dense book clocking in at nearly 500 pages along with supplementary material, lays out how Russian interference has wreaked havoc upon our electoral process as well as provides a jaw-drawing look at how the Trump team, with Trump himself very much involved, have obstructed justice. A stream-lined concise graphic novel actually makes sense–and this is it! This book is, no matter what the subject, a perfect example of how to condense a complex subject into a compelling read.
Page from The Mueller Report Graphic Novel by Barbara Slate
Barbara Slate has the magic touch with bringing the essential facts in better focus. The reader gets to know all the players and what they did. The often Byzantine-like world of Russian oligarchs is treated in a straightforward manner. A con game that no one was expected to be interested in or even be able to follow is made accessible. As we’ve heard many times over, it was not Robert Mueller’s place to determine if the President of the United States, no matter who they are, should be impeached. It is up to Congress. As we all know, Congress took a very different path than would have been expected on their way to impeachment. The Democrats had the compelling case all along with the Mueller Report but they chose to focus on Ukraine. That said, the Meuller Report is still with us, many portions of which await removal of redactions and future days in court. This graphic novel remains a handy guide for when the chickens come home to roost.
You Can Do A Graphic Novel by Barbara Slate
If you’re looking for a wonderful instruction manual on comics, then you’re all set with Barbara’s You Can Do A Graphic Novel. This book will guide you through the process of telling your story through comics. You can aim for doing a full-length graphic novel in the long run. But, to begin with, you can follow these easy-to-follow steps and learn all the components to storytelling. This 232-page, fully illustrated, book will delight newcomers and even more experienced cartoonists because you have Barbara Slate sharing techniques and industry insight from a long and successful career.
Pages from You Can Do A Graphic Novel
As I say, even more experienced cartoonists will welcome the easygoing and highly informative format. Yes, you too can learn how to properly plot a comics script. Barbara Slate learned from the best. When she first started at DC Comics, she was taught the color-coded plotting system by none other than Paul Levitz, one of the biggest names at DC Comics. The book is perfect for all ages, and it will specifically appeal to young people just starting out.
Barbara Slate is one of the best. Check out her website to learn more about her work and her online comics courses. Visit Barbara Slate right here.
A pet peeve of mine, a whole little schtick, was my often complaining about how museums and galleries would refer to some works as “comics-related” but never would go that extra step and simply refer to a work that was, indeed, a work of comics, like a lot of work by Raymond Pettibon, as simply “comics.” Sure, when confronted with an actual comic strip or comic book, then, yes, that was comics. But when it was a work that was clearly utilizing all the elements of comics, was up to its eyeballs in the comics medium, it was politely referred to by the art world establishment as a “comics-related” work. Now, sure, one only needs to look at the Pop Art movement to appreciate that distinctions have to be made. But still, what was happening was that comics, as an art medium in its own right, was being dismissed. It can get complicated, needlessly so, in determining between high and low art and all the myriad interconnections. Comics have had a rough go of it, especially in the United States. So, what do we mean when we refer to comics and are all comics now supposed to be treated as works of art? No, all comics are not works of art. Just as all dime store novels are not works of art! Maybe that helps to clear things up. A new book, with the goal of clearing things up is Comic Art in Museums, edited by Kim A. Munson, a collection of essays, dispatches from the art wars. And make no mistake, when it comes to jockeying for position, on all fronts, there’s a war going on.
Panel excerpt from “High Art Lowdown,” Artforum, December 1990, by Art Spiegelman
Perhaps one of the greatest villains, or scapegoats, in the ongoing war between high and low is Roy Lichtenstein. And that’s a shame because his is a brilliant body of work. In the tradition of comics at its most brash, Art Spiegelman, known for Maus, winner of the 1992 Pulitzer Prize, fired off a salvo aimed right at Roy Lichtenstein in a review he created using the comics medium on a page in Artforum, December 1990. It was a review of the latest attempt to place comics in a fine arts setting: The Museum of Modern Art’s High and Low: Modern Art and Pop Culture. Spiegelman would have been far better off had he taken his time to calmly comment on the show instead of feature Lichtenstein and the supposed wrong he’d done. To be clear, Roy Lichtenstein did nothing wrong. Simply put, he took comics from one context and put them in another. Taking one thing and repurposing it is as old as cave paintings. Seriously, look at an artist like Édouard Manet and you can see what intriguing results you get from recontextualizing. Pop Art was doing this left and right and it wasn’t always simply a comment on consumer trash culture. It could also be contemplating formal issues, right down to playing with the juxtapostion of Ben Day dots. It was a lot of things and one thing you can definitely call it is art.
Program cover, The Comic Strip: Its Ancient and Honorable Lineage (1942). Image courtesy of AIGA Design Archives.
As Kim A. Munson’s research bears out, the earliest comics shows, from the ’30s and ’40s, did not feature pointed issues of legitimacy. In fact, it was more of a display of craftsmanship that was honored. We seem to come full circle in honoring craftsmanship with the landmark Masters of Comic Art show from 2005 but more on that in just a moment. Really, all of this coming to terms with comics comes down to what one group of connoisseurs thinks over another group of connoisseurs! What I appreciate about Munson’s book is how objective she is with the multitude of facts to dig through. Anyway, it was a very different scene when comics began to be shown in anything resembling a formal gallery setting. As Munson reports, back in the ’30s and ’40s, comics were appreciated and everyone was happy, just as long as you tolerated the common view that comics were quaint Americana. What makes things more complicated is that, in so many cases, comics are no better or worse than soap operas. So, your head will explode if you try to justify all comics. That’s where overanalyzing can run you aground. So, when in doubt, consider some common sense. There is agreement that comics can rise to high levels of excellence, such as the work of Milton Caniff, Winsor McCay and George Herriman. It has to do with originality of content and masterful and innovative use of formal elements. Honestly, you know it when you see it. You don’t have to leave it up to so-called experts to explain to you what is art and what is not art. It is a stereotype, really, to say that all diehard fans of comics are only interested in a particular plot. But the connoisseurs and so-called experts too often conclude that’s the case.
Comics have gone through a series of misunderstandings, especially in the United States. While Munson’s book doesn’t explicitly state that it is only covering U.S. comics, it does naturally slip into that focus. This is a collection of written pieces inextricably linked to American taste. It is that taste upon which the perception of comics depends upon in many ways. We Americans want to have it all, be brash and outspoken while being respected on all fronts. Collectively, we are not a shy bunch. And, as a group, we seem to be compelled to push and pull. And so something as egalitarian as well as just plain fun and stimulating as the comics medium is not going to get a free pass. So, where to begin? Well, in the beginning there was ignorance and indifference. As Denis Kitchen, an underground cartoonist and publisher of the prestigious Kitchen Sink Press, notes in his essay in this book, it seemed like comics came to life long before it gained any respectability. You could walk into the offices of United Feature Syndicate in the ’50s and find the original work of Al Capp, their star cartoonist, strewn across the floor of a storage room, complete with footprints. Al Capp, himself, hadn’t figured it out either and likened his world-famous Li’l Abner comic strip to a quick minute’s read on its way to becoming fish wrap. Even when it came to how to display the comic strip in public, it was thought that the finished printed color strip from the newspaper was far superior to the original. Heck, at first, original comic art wasn’t even considered an option as viewing material; and then, once found acceptable, it was simply pinned to the wall with tacks, no need to bother with framing it. That’s a far cry from today, of course, since first-rate work from the all-time best cartoonists is now properly valued. Denis Kitchen certainly knows this as his agency represents the estates of Will Eisner, Harvey Kurtzman, Al Capp, and many others.
So, how do you do justice to a work of comics, on a gallery wall, that was intended to ultimately be printed in a relatively small reading format? The fact remains that comics as an art form simply needs to be approached on its own terms. It’s not painting, for example, and doesn’t need to compete with it. When you come down to it, it is a hybrid art form, both visual and literary. Sure, there are comics without text but, essentially, comics is a form of storytelling. And, at the forefront, as I always like to point out, is the cartoonist-auteur, the one person who is engaged in the creation of a work of comics. This person might feel like creating outright paintings and all sorts of drawings and work in other media. What matters here is that comics, as an art form does have a core modus operandi: visual storytelling that uses visuals as a language and tends to be an artful combination of word and image. At its core, it is a sequential art or, at least, a form of storytelling. So, is it mainly visual or literary? It’s both. It’s a hybrid. Among the various art shows that have attempted to show comics, one of the best was 1991’s Misfit Lit and that’s simply because it was put together by Gary Groth, co-founder of Fantagraphics Books, as well as Larry Reid, folks who intimately understand comics. The big secret is to display the work in proper context.
It is work from the cartoonist-auteur that gets to the heart of the matter and best speaks to the issue of comics as art. Misfit Lit: Contemporary Comic Art, which began in Seattle and then went on a brief tour, provided not only a showcase of superstar talent but a serious look at the comics medium through a rich variety of work including Bernie Krigstein, Harvey Kurtzman, Charles Schulz, Basil Wolverton, Howard Cruse, Justin Green, Roberta Gregory, Chester Brown, Charles Burns, Peter Kuper, William Messneer-Loebs, Jim Woodring, and many more.
Maters of American Comics
Often, what people want is to be dazzled and one show that did just that was the 2005 show, Masters of American Comics, which, in no small part, was a reaction to the very same MOMA high low show of 1990 that had so incensed Art Spiegelman. This was a chance to set the record straight. Comics, all by itself, without need of comparison to painting, would dazzle an audience. This is a prime example of comics experts setting the tone. Art Spiegelman acted as a consultant and helped to choose the fifteen featured cartoonists, which included himself. No harm done, really. It was a wonderful show. And it served its purpose. As co-curator John Carlin put it, this was an opportunity to give a certain set of cartoonists an added “glow,” in the same spirit as, in the late ’50s, French critics elevated popular Hollywood directors Hitchcock and John Ford to the level of art-house icons. What was once one thing became another.
The Bible Illustrated: R. Crumb’s Book of Genesis at the Hammer Museum, Los Angeles. October 24, 2009-February 7, 2010.
It all comes down to legitimacy. We creative types all hunger for legitimacy, especially if we’re creating work that we know is deserving of more serious acknowledgement. Comics, as a whole, have been howling for such validation. Case in point is the career of R. Crumb, the ringleader of much of the mayhem and glorious creative output of the underground comix movement. Is a lot of that work today under fire? The short answer is yes. In more recent years, what has Crumb done in order to perhaps appeal to a larger audience? Crumb turns the Bible into a comic book! For anyone familiar with its contents, it basically allows Crumb to be Crumb. Crumb recently took on The Book of Genesis with spectacular results. This is a case of a savvy master creating a work with one eye on the printed result and another eye anticipating a presentation of original artwork to the public. Another recent Crumb show was at the prestigious David Zwirner art gallery in New York. For that show, Crumb was presented in historical context. And, since Crumb is still an active artist, one room was dedicated to recent work that was as vibrant and compelling as anything you would expect from one of Chelsea’s blue chip galleries. Sure, a lot of these were more one-shot portraits but that’s really the whole point. Comics is an art medium. And artists are artists. Sometimes artists create comics and sometimes they create other forms of art. And when a work of art is comics, well, there’s no shame in saying that. The point is that Crumb was able to ride the waves of an often provocative and controversial career. Finally, he’s been there to guide the narrative, set the record straight, and firmly establish his position.There are a number of essays in this book that conclude Crumb is Crumb and that’s worth respect.
Whoever gets noticed the most then gets to move forward and, ultimately, gets to be remembered for posterity. Sometimes merit is not the most important factor but sheer persistence in determining who reaches to the top. However, it is only after numerous cycles of shows, reviews, and whatever else, before the true artists become most apparent and remain standing. After a long process, common sense will play a more important role, and out into the world, like a reborn babe, will emerge undisputed names like George Herriman, Milton Caniff and Jack Kirby.
I can’t stress enough the importance of objectivity in a collection such as this. Munson has done such an admirable job of organizing this multitude of dispatches from the front lines, including her own work. And, all the while, she doesn’t step in to clear the air with any speculation of her own. She lets the work speak for itself. And, in doing so, it’s clear to me that she sees there is plenty of work still ahead in understanding comics. The very last piece included in this book is from 2017 by Alexi Worth and explores the work of Jack Kirby. For me, and perhaps to any careful reader, the frustrating conclusion Worth reaches is that there is a strong case to be made for Jack Kirby creating what amounts to art, despite the fact he had to work in such a minor art form as comics! In Worth’s opinion, comics is essentially a mass entertainment machine: “The basic task of that medium is to transform neat rows of boxes into heterogeneous flow.” Poor Jack Kirby, in Worth’s view, was held back by comics “because his pictures were conceived as sequences.” How can you appreciate the artist if you don’t appreciate their art medium? Let me just insert here that I’d welcome further discussion with Worth since, to be fair, I see this as an evolving discussion. I also believe it is settled that comics is as legitimate an art form as any other. We don’t want that to get lost. And, again, I’ll state here that there is a wide spectrum of comics, not all linear and dependent on identical panels, although it doesn’t matter. In fact, comics do well with a set of limitations. Jack Kirby literally pushed the constraints of the picture plane. Other masters of comics, like Steve Ditko, seemed to revel within a certain set of order. And, despite what Worth concludes, comics don’t need to be hemmed in by addressing action only from one panel to the next. Many artists can speak to the interconnection of activity that is possible taking place all over the page as well as the dynamism going on between facing pages. Artist and scholar Frank Santoro is certainly a leading advocate of creating comics that work with the entire space not only between panels but also between pages. Well, the process of understanding comics goes on and this book will absolutely help with the ongoing discussion!
Milton Caniff show at Society of Illustrators, 1946.
Spring is in the air and we’re getting more sunshine. While 2020 gives us plenty for pause, there is a need for optimism and comfort. For me, once I’m wearing a nice pair of sunglasses, it puts me in a good mood. It’s a bit of a ritual as I look for the last pair I wore or go ahead and buy glasses online. I do a similar thing when I buy flip flops online. Someone stylish wearing a cool pair of sunglasses symbolizes good times. Its a state of mind that I enjoy being in and you probably do too. I must say, if I’m healthy and have no business wearing a mask, I’ll find all the contentment and comfort that I need in a really snazzy pair of sunglasses. That beautiful pair of sunglasses will block away the ugliness and my worries, at least for a short while, long enough to take a stroll and know that all will feel a little more right in my world someday soon. Yes, we’ll be on vacation or some adventure before too long. A really snazzy pair of sunglasses can not only symbolize leisure; it can help give us a healthy dose of hope.
I love this video that features comic-drawing rebel professor Lynda Barry doing her own thing. Around the six minute mark, Lynda confides in the audience that she knows that most folks abandon drawing when they try to draw a nose! She proceeds to draw a bunch of fun noses. First, she begins by drawing what her cousin advised to be the proper way to draw a nose, circa 1962. Then, she riffs on the wonderful world of noses. Starting with the shape of a head, Lynda Barry, one of our all-time great cartoonists, guides the viewer into visual anarchy. If there is only one rule to follow, it is this: the drawing still needs to “read” as whatever it is you’re drawing.
Lynda Barry has worked as a painter, cartoonist, writer, illustrator, playwright, editor, commentator, and teacher and found that they are very much alike. She is the inimitable creator behind the seminal comic strip Ernie Pook’s Comeek as well as numerous comic books and graphic novels, and is the recipient of both the Eisner Award and the R. R. Donnelly Award. She lives in Wisconsin, where she is an associate professor of art and a Discovery Fellow at the University of Wisconsin–Madison. Her most book is Making Comics, published in 2019 by Drawn & Quarterly.
1917 is a movie that brings World War I to life, a story told in the trenches and meant to be sobering. Early scenes in the film are looking down into the trenches. The humble title sets the tone for a narrative that focuses the viewer on a specific time, place, and protagonist. This is a journey that one soldier must take in order to save a battalion of 1,600 men. The battalion is being ordered to stand down in order to avoid an enemy trap and two soldiers have been tasked as couriers to send that message.
Crouching toward the goal.
Lance Corporal Schofield (George MacKay) never expected such a dangerous, and pivotal, assignment but there he is, paired with another soldier (Dean-Charles Chapman) who he doesn’t really care for. But any callow sentiment is quickly wiped away once the race is on. As the two move above ground, they can’t help but remain low, crouching toward their goal. It’s not long before Schofield loses his teammate and the focus tightens upon the determination of one man.
Schofield’s silhouette often holds together the composition of scenes.
Designed to play out in the form of a single, extended, endlessly mobile shot, 1917 is visually stunning, bringing The Great War into brilliant 21st century relevance. No, we are not at all that different from our early 20th century ancestors, even with our technological superiority and cultural awakening. Bravery is the overriding theme. Schofield is the unlikely hero who is but a little cog in a system. It has been foisted upon him to do the right thing and that will only happen if he follows his conscience and precisely follows orders. Now, the camera moves closer on Schofield and his silhouette often holds together the composition of scenes.
Schofield retains the grace of the understated hero.
Director Sam Mendes pays tribute to his grandfather’s exploits in this epic film. Both Mendes and co-writer Krysty Wilson-Cairns were guided by family war stories. The narrative is, by all measures, epic in the extreme. Influenced by the lore found in some of the best in cinema, literature, and even video games, this is a movie packed to the gills with intensity, a veritable roller coaster of highs and lows. Sandwiched between two heart-wrenching scenes of mortal combat, there’s even a quiet moment when Schofield stumbles upon a mother and child quietly surviving in the shadows. This tender scene inspires Schofield to sing a few lines from Edward Lear: “On a winter’s morn, on a stormy day, In a Sieve they went to sea!” Not long after that, Schofield himself is fighting the mighty life-threatening river currents. No doubt, this is a movie that can get caught up in its own grandiloquence. And yet, through it all, Schofield remains the stalwart understated hero and preserves for this epic film the irresistible charm of a fable. For all its grandeur, 1917 manages to retain a great sense of humility. Among its many influences is the classic novel, All Quiet on the Western Front, a story that is decidedly humble. Within this big epic film resides a modest human heart.
Has a major American city ever commissioned a graphic novel as a public art piece before? Seattle is on board! Cartoonist David Lasky and writer Mairead Case have been selected (from 71 applicants) by the City of Seattle to create a fictional graphic novel centered around the historic Georgetown Steam Plant. The goal is to increase awareness of this unique landmark with a graphic novel geared toward young adults.
Panel from “The Carter Family: Don’t Forget This Song”
David Lasky is the co-author (with Frank Young) of the Eisner-Award-winning graphic novel biography, “The Carter Family: Don’t Forget This Song.” Chicago writer Mairead Case is the author of the acclaimed prose novel, “See You in the Morning.” A story by Lasky and Case, “Soixante Neuf,” was featured in Best American Comics 2011.
West elevation exterior of engine room. The Georgetown Steam Turbine Station, built in 1906 is now a National Historic Landmark. The plant is owned by Seattle City Light and has been working to restore the plant. It is open for tours the second Saturday of each month and is occasionally used as a teaching facility for steam power engineers and hobbyists.
Here is a brief email interview I did with Mairead Case today:
What went through your head when you got the news about being chosen for this special graphic novel project?
Well I was, am, sincerely grateful: to be from a city that celebrates public monuments with comics, and to have visibility and support for the creative relationship David and I have pretty much always had, even when nobody else was looking. Grateful to have work that includes time for oral histories and site-specific research (no screens!). And aware of the responsibility to accurately represent Georgetown’s diverse history—we want to use this platform to amplify and illuminate the stories that are already here, not co-opt them. For real. (Also, I was really happy to have news that would make my mom proud.)
Are you already envisioning what your routine will be like with the project?
David and I are both pretty focused, detailed nightowls so I expect we’ll have a focused, detailed, nightowl routine. That said, it’s amazing to have financial support for this project so it’s really exciting to think about how we might work in new ways with that gift. (We might even work in the daytime, ha!) But no matter what we’ll be collaborating closely. And we will probably listen to Bowie at some point.
Did you ever think you’d be creating a graphic novel about a steam plant?
I feel like I’m supposed to say no here, but why not? When I was a kid I wanted to be a tightrope walker so maybe this is not that far off.
What do you think this project might say about the role of graphic novels in America?
Ah, I think our role is to make the book and then other people can tell us! But it is terrific terrific terrific that Seattle is supporting a project like this—it’s really wonderful that an American city in 2017 is using art to build community, as defined and remembered by that community. I’m used to telling (maybe yelling a little too) at the government about that, and am still gobsmacked that this time the government was all “we know. Go.” I hope that other cities say “Go” too. The talent is here! American cities, if you want me to send you lists about the talented storytellers I know in your neighborhoods, just send a flare.
You can keep up with this intriguing project right here.
And, if you’re in Seattle this weekend, be sure to stop by and see David Lasky at the annual comic arts festival, Short Run.
The Girl in the Cafe and an Ionized Environment
Art and fiction by Henry Chamberlain
She sat at her regular table on the second floor of her favorite cafe. It was the same old crowd. It was a steamy summer day. She had the whole world before her. There was the Space Needle right out the window to keep her company. She made herself comfortable. She wiggled her toes. Someone was overheard saying, “An ionized environment really helps.”
“How I Made the World,” is an intriguing title, don’t you think? It happens to be the title for a series of comics about Liz, a college student and writer who expresses herself in true epic glory, like any young person should. Now, this is most assuredly a SERIES, not a ONE-SHOT. There may have been a bit of confusion regarding this since the Diamond Previews catalog, the monthly bible for all comics retailers and regular comics buyers, has given the “one-shot” label to this series. Okay, now that we have that cleared up, here is an interview with the creators. It was a pleasure to get to chat for a bit with Liz and Randy.