Sharon Rudahl was at the forefront of underground comix as a founder of Wimmen’s Comix, the first on-going comic drawn exclusively by women, beginning in the 1970s. Since then, she has created a range of fascinating underground comix including Crystal Night, which was reprinted in full in Dan Nadel’s Art In Time collection. Rudahl has created two graphic novels, A Dangerous Woman: The Graphic Biography of Emma Goldman and A Graphic Biography of Paul Robeson: Ballad of an American. Read my review here. It is a pleasure to get a chance to share this conversation with you.
Tag Archives: Wimmen’s Comix
The sexual revolution. The war between the sexes. Just plain sex. It can get complicated, confusing, messy. In 1968, Robert Crumb and his merry men staked their claim to uninhibited expression in underground comix. Yeah, these guys had a few things to say. From their point of view, the establishment was totally out of whack and they had the antidote. Crumb would show us all, in his opinion, just how wild the id could run, no matter how offensive. A couple of years later, along comes Trina Robbins with another view, the view of the opposite sex, which proved a great counterbalance and reality check. For the first time, this groundbreaking work, from 1972 to 1992, is collected in “The Complete Wimmen’s Comix,” published by Fantagraphics Books.
The topic of sex is endlessly fascinating, to be sure. What men like Robert Crumb seemed to envision was a “telling it like it is” approach. In similar fashion, Trina Robbins and her female compatriots were showing sex and related themes from a very different point of view, that of the opposite sex. Yes, there was more than one point of view! Who knew, right? Issues of abortion, male performance, and abandonment, had a voice within the pages of Wimmen’s Comix. While the groovy hippie guys may have thought they had it figured out, cartoonists like Lee Marrs demonstrated with great humor and insight that the groovy guys were just as likely to be ugly pigs as their buttoned-down mainstream male counterparts.
From the first issue of Wimmen’s Comix, in 1972, there is “All in a Day’s Work” by Lee Marrs. A young woman enters the work force to find herself fending off abusive male co-workers and bosses. When she quits and starts a job at a co-op, the men turn out to be just as abusive. A few more twists and turns and the main character, an alter ego for Marrs, stands naked pleading, “What Can I Do?” In a piece nearly twenty years later, entitled, “Men & Women,” by Roberta Gregory, she sees a systemic problem. Gregory sees leading policy makers, both male and female, pollute the air with their own misinformation about men and women.
As Trina Robbins states in her introduction, the level of quality of comix from women steadily increased with the years. At first, there were only a few women cartoonists. Then, after the hiatus and subsequent return of the magazine in the ’80s, there were plenty of women cartoonists. And, now, it is a whole new world with more women cartoonists that ever before.
The roster of talent is breathtaking: Phoebe Gloeckner, Lynda Barry, Julie Doucet, Aline Kominsky-Crumb, Caryn Leschen, Joyce Farmer, Alison Bechdel, Carol Tyler, Mary Fleener, and many more. In the end, these are great comics but they are also presenting a distinctive feminine viewpoint which makes all the difference. This collection is a must-read for students of the counterculture, women’s studies, and fans of great comix. It is a time capsule as well as a tribute to vital comics that retain their punch and relevance today.
The Complete Wimmen’s Comix is a two volume hardcover set, totaling 728 pages, black & white with some full color pages. For details, and how to purchase, visit our friends at Fantagraphics Books right here.