• Review: "...Kevin Avery’s Everything Is an Afterthought... chronicles the dramatic life of one of music’s keenest observers, Paul Nelson, and curates his finest critiques.... I read and adored [Nelson] growing up, but reading [him] in the context of today’s critical standards gave me the literary equivalent to the bends. It goes without saying that, in the age of the Internet, the whole idea of a critic has changed." – Jim Farber, New York Daily News
• Review: "It could well be ten years since I last read these stories [in Queen of the Black Black], and I’d either forgotten or never appreciated (my money’s on the latter) how astute and insightful they could be. Like a proto-Kevin Huizenga, [Megan Kelso] repeatedly turns up little rocks of human experience and chronicles what’s going on underneath, reintroducing us to feelings, sensations, and experiences we’d forgotten we’d had but recognize as if they happened this morning." – Sean T. Collins, The Comics Journal
• Review: "This collection of early stories from Megan Kelso shows a natural flair for the form, mixed with a self-critical determination to hone her craft, that’s helped her blossom into a master storyteller.... Anyone looking for a masterful example of the short story in comics would do well to give [Queen of the Black Black] a try. Beautifully written and well illustrated, this a wonderful portfolio of work from a creator showing a deep well of promise from the start." – Grovel
• Review: "...[E]asily... one of my favorite horror comics and one of my contenders for my Best of 2011 list.... Not only is the book carefully structured, it looks stunning.... The Hidden is a story that must be experienced to fully appreciate... There is an excellent story of slow-building despair to be found in its pages, with gorgeous depictions and coloring and a horror story that shocks, surprises, and entertains. Don't let this one get hidden on your shelves! It may not be Halloween, but I still give this book my highest recommendation!" – Rob McMonigal, Panel Patter
• Review: "Volume 2 of Fantagraphics' Gottfredson Library, which takes us up through the beginning of 1934, maintains the high production standards and copious ancillaries of the first volume.... Tom Andrae's opening essay emphasizes, with good reason, how Gottfredson "spun off" many of his early narratives from the plots of animated cartoons. IMHO, however, the Mickey strip truly became "great" once Gottfredson gained the confidence to craft his own plots." – Chris Barat
• Profile:Paul Gravett surveys the work of David B. and presents a transcript of his bookstore discussion with the artist this past summer (hat tip to TCJ.com's Tim Hodler)
• Plug: Pulitzer-winning author and known Love and Rockets fan Junot Díaz names Poison River by Gilbert Hernandez (collected in Beyond Palomar) one of his top 10 favorite books in an excerpt from Unpacking My Library: Writers and their Books posted at The Financial Times
• Plug:Oil and Water receives an excellent feature in the new issue of the Audubon Society of Portland Warbler newsletter, which can be downloaded here
• Tribute: At The Comics Journal, Bill Griffith remembers meeting, and later collaborating with, the late Bil Keane: "I was surprised when Bil told me he read Zippy in his local Arizona paper and liked it. He didn’t even qualify his opinion with the usual, “Of course, I don’t always get it.” Until then, I hadn’t paid much attention to The Family Circus, but I slowly began to see that you could read more into it than what appeared on the surface. This was before internet wise guys began mashing up random Friedrich Nietzsche lines for Billy and Jeffy’s and riffing on the strip as unconscious surrealism. But The Family Circus didn’t need hipsters to substitute incongruous dialogue to make the case that it was unconscious surrealism. It was unconscious surrealism on its own."
And you can catch what sounds like an amazing panel with Al Jaffee, Jack Davis, and the "Usual Gang of Idiots" on November 12th at 5:00 PM at the Trustees Theater [ 216 E. Broughton St., Savannah, Georgia ].
It's free, open to the public, and you'd be MAD to miss it!
The Friars' Club is the very one, infamous for all those celebrity roasts, and on that note... please excuse their use of "comic sans" in the flyer up there! OOOH! I did a roast!
I kid, I kid! We love The Friars Club for hosting this event. They helped us celebrate the release of More Old Jewish Comediansback in 2008 , and an estimated 400 people were there! And this time around, the event is open to the public! That's right, you do not have to be a friar to attend, and you do not have to RSVP. Just get yourself to The Friars Club from 6:00-8:00 PM... Why so early? Oh, right, 'cause it's the OLD Jewish Comedians trilogy! Ha, ha, ha! I'm gettin' a hang of this "roasting" thing!
Okay, no, I'm not, but you can meet some real comedians at this event who could easily show me a thing or two, and roast me to the ground: Friars comedians Freddie Roman and Stewie Stone (the cover "model" on the new book) will host the event, with special guests Larry Storch, "Professor" Irwin Corey, Bobby Ramsen, Joe Franklin, and our own MAD legend Al Jaffee! Plus, special surprise guests to be announced, and a tribute to the late Mickey Freeman.
So, come buy a book, get it signed by Drew, and meet some of the legends depicted in his books in person! The Friars Club is located at 57 East 55th Street, in New York City.
The Comics Journal has been, for almost 35 years, the standard bearer of critical inquiry, discrimination, debate, and serious discussion of comics as art, and the object of love and devotion among the comics cognescenti — and hate and scorn among the philistines, natch. We published our 300th issue in late 2009 and spent the ensuing year-plus re- conceptualizing the institution as an annual book-length “magazine” — over 600 pages long, chock full of the kinds of criticism, interviews, commentary, and history that has made it the most award-winning and critically lauded magazine in the history of comics.
This volume features a focus on R. Crumb’s most commercially successful project of his career, his comics adaptation of Genesis, including the most extensive interview he’s given on the subject as well as a long critical roundtable among six comics critics reviewing the book and debating each other over its merits; plus:
• An interview with Joe Sacco about his recent journalistic masterpiece, Footnotes in Gaza;
• A peek into the private sketchbooks of (and accompanying interviews with) Jim Woodring, Tim Hensley, and the novelist Stephen Dixon;
• A conversation between Mad Fold-Out creator Al Jaffee and Thrizzle auteur Michael Kupperman;
• A complete full-color reprinting of the 1950s "Gerald McBoing Boing" comic;
• The first significant biographical essay charting the turn-of-the-century cartoonist and illustrator John T. McCutcheon;
• A critical re-assessment of Dave Sim's Cerebus by Tim Kreider
and essays and reviews by R. Fiore, R.C. Harvey, Chris Lanier, Rob Clough, and others.
Over 600 pages long, this is a year's worth of The Comics Journal rolled into one extraordinary objet d'art. As a special treat, this volume is guest designed by internationally respected Criterion art director Eric Skillman. The Comics Journal #301 is no mere magazine but a gigantic compendium covering comics past and present that will shock and delight every truly curious comics reader.
The Online Commentary & Diversions hamster wheel started spinning a little too fast, but I think I've got it back under control now:
• Feature: For Largehearted Boy's "Book Notes" feature, Wilfred Santiago creates a musical playlist for 21: The Story of Roberto Clemente: "Golden age animation has been a big influence on my work and the graphic novel itself is very musical. It would be interesting to see the shape that it would take as a feature film. So here is what the 21 soundtrack would sound like."
(The following links are via the Largehearted Boy link above:)
• Review: "The graphic novel  is a beautifully wrought Clemente collage, following the hitter from the impactful events of childhood through his career as a Pirate and up to his untimely death. While there were several poignant dramatic through lines, the book’s strength lies in its brilliant visuals, which far outweigh its strictly biographical content. In addition to his many other notable qualities, like his humanitarianism and his greatness as a player, Clemente was a beautiful man, with a striking physicality. Drawing on this aesthetic truth, Santiago stuns and heightens it, with an imaginative and dramatic illustrative style, with its palette of Pirates yellow, and orange and black. The oral tradition of myth-making is put into visual form here." – Ted Walker, Pitchers & Poets
• Review: "The comic book biography is alive and well in 21: The Story of Roberto Clemente... In 21, Wilfred Santiago, who was also born in Puerto Rico, uses the language of comic books to tell the story of Clemente’s life as something like the arc of the hero’s journey or as a heroic epic.... 21 captures what made Clemente unique. However, Santiago uses the medium of the comic book in a unique way to tell the story of man who represents the best of us. [Grade] A-" – Leroy Douresseaux, I Reads You
• Review: "...I love a good graphic novel biography. Well as those of you who are familiar with the great baseball player and humanitarian that Roberto Clemente was already know, it would be hard to tell his story in any media and for that story not to be powerful. ...21 ... is a handsome production... [and] an... EXCELLENT graphic novel." – Ralph Mathieu, Ich Liebe Comics!
• Plug: "21: The Story of Roberto Clementeby Wilfred Santiago, a graphic novel by an illustrator and writer from Puerto Rico, received a nice write up in a recent issue of Sports Illustrated (linked here)... If we could only have found it at the book store. Sports shelves? Graphic novels? You give it a shot." – Tom Hoffarth, Los Angeles Daily News
• Review: "...Mattotti is an artist who is equally concerned with complex imagery and sharp storytelling — attention to that combination leads us to what makes Mattotti so great. Claudio Piersanti wrote a very crisp script for Stigmata, and Mattotti illuminates the story deftly, probably because he has a real appreciation for well told stories.... If one’s standard for great cartooning is drawing that tells a story without a shred of vagueness, Mattotti’s work on the events described above is thrilling in its virtuosity. But this is a work of art far more potent than a simple story well-told. Mattotti’s two extremes — that of high level storytelling and drawing that suggests unique emotions — exist side by side without any fuss." – Austin English, The Comics Journal
• Review: "While the core timeline of Freeway is only a few hours of frustration spent in traffic, Alex’s mind wanders through past fiction and reality, present fact, and fantasy. Kalesniko, who himself worked at Disney as an animator, designed his main character as an anthropomorphic dog. The result is a wistful, innocent, and somewhat naive protagonist who is coming to the realization that his childhood dreams aren’t quite turning out as he planned.... It is definitely worth the challenge of meandering through the crammed vehicles to reach those poignant moments of Alex’s life, moments many of us share in our own versions of our adult selves." – Ashley Cook, Giant Fire Breathing Robot
• Review: "Less able graphic novelists might scare themselves silly with the scope of this book, but Mark Kalesniko’s attention to detail in all aspects of his craft — the backgrounds, the emotional ranges of the characters and the slow but steady-paced urbane drama — blends the components together masterfully.... [Freeway] is deeply sophisticated and literary. It deals with humanity’s big questions – love, death, life, and what we do with our time. It’s funny, touching, heart-warming, tragic and very engaging." – Andy Shaw, Grovel
• Review: "Gilbert’s sketches actually give an insight into how he feels about his characters, and as a reader, I found myself understanding the characters a bit more, just by looking at his drawings.... The work in the ‘Jaime’ section is quite beautiful and well drawn, however, it does not give further insights into the ways in which Jaime sees his characters, or what he has planned for them... To sum up, Love and Rockets Sketchbook Volume 2 is pretty awesome." – Lisa Polifroni, lisaloves2read
• Interview: At Inkstuds, a 2008 conversation with Johnny Ryan conducted and with illustations by Josh Bayer: "It’s interesting that you bring it up because people always demand that artists deliver some sort of meaning and truth, and when that truth’s hideous they throw up their arms and get upset and have hurt feelings and it’s 'you’re ruining people’s lives.' There’s conflict; you want the art to be true, but don’t want to be shown stuff that makes you feel bad, you can’t make people feel good all the time, it's not true, the object is to make people feel something. There’s no rule that it has to be something good."
• Interview:The Daily Cross Hatch wraps up their serialization of the transcript of Brian Heater's MoCCA panel conversation with Peter Bagge: "I used to worry about what my peers thought. That’s a big mistake. Never worry about what your peers think, because then you always find out that they would have done it in a heartbeat. [Laughter] If you take anything away from this conversation, it should be 'fuck Dan Clowes.'"
• Feature:The Seattle Times' Marian Liu previews our Charles Peterson: Taking Punk to the Masses exhibit at Fantagraphics Bookstore & Gallery: "'I was wondering why this kid was bothering to take photos,' said Larry Reid, curator of the Fantagraphics show, of Peterson. Now, flipping through the photos, Reid remembers each scene as if it happened yesterday. Drawn to the energy of the music, Reid was a good decade older than many in the scene then. He shepherded the artists by promoting their shows and allowing them to play in his gallery's basement. 'I can recognize the artists by their shoes,' said Reid, looking through the photos."
• Plug: "For a reality check, I turned to a former Rolling Stone colleague and friend who always seemed to have a better line on all things cultural than anyone else around and a way of stating his position in a manner that set him apart, way apart, from other music writers — make that writers, period — of his time, and boy does he put today’s snarky music press to shame. This would be the late Paul Nelson... (Nelson’s life and work are getting their just due in September with the publication of a long-awaited, diligently researched biography by Kevin Avery, Everything Is An Afterthought: The Life and Writings of Paul Nelson. Full disclosure: Yours truly was among those Avery interviewed. But buy the book anyway.)" – David McGee, The Bluegrass Special
• Plug: "I’m in the process of reading an advance of Everything Is An Afterthought, Kevin Avery’s biography and selected works of the music critic Paul Nelson. Reading Nelson’s writing reminds me how of the role that he and other music critics of the time — our own John Swenson included — played in creating the myth of New York City for me." – Alex Rawls, OffBeat
• Plug: "Back in 2003, Lou Reed paid tribute to poet Edgar Allen Poe with his sprawling The Raven, which didn't exactly strike a positive chord with the many critics and fans at the time. Nevertheless, Reed will now be revisiting that album with a new illustrated book. The book, also titled The Raven, was made in collaboration with Italian illustrator Lorenzo Mattotti.... We originally called The Raven 'bizarre and thoroughly uneven.' We'll have to see if this new illustrated spin helps to make the entire album a bit more rewarding." – Alex Hudson, exclaim.ca
We're thrilled to present the Fantagraphics guide to the 2011 MoCCA Fest, happening this weekend Saturday, April 9th and Sunday, April 10th at the Lexington Avenue Armory in New York City! Print this out and use it as your shopping checklist and your weekend schedule!
First off, take a look at all the amazing new releases that we will be debuting at the show! Many of these books won't be in stores for several more months, and copies are limited, so make our table your first stop, or risk missing out!
Secondly, check out our jam-packed schedule of awesome authors who will be signing at the Fantagraphics table over the weekend. Not only will they be signing our books, but several of them will be bringing previews of works-in-progress!
another update: Tim Kreider will be joining us on Saturday afternoon at 2:30 pm before his panel at 4:30 pm!
All this and more awaits you at the Fantagraphics booth, located at #J1, J2, K1, K2.
And finally, get a gander at all these great panels! If you haven't already heard from The Daily Cross Hatch, they've added a second room this year, and they'll be doing more one-on-one conversations like the ones with Gahan Wilson and Peter Bagge listed below! You won't want to miss it!
Saturday, April 9th
11:30 am // Teaching Comics:Jessica Abel joins fellow panelists Bill Kartalopoulos and Tom Hart in a discussion from reading for content/visuals, to teaching how to “read” their visual rhetoric, to thinking about how to tell a story visually, what makes comics worth teaching? (Room A)
1:30 pm // Building a Book, From Start to Finish: Mark Newgarden moderates a panel with Stephen DeStefano (as well as Ben Katchor and Lauren Redniss), with an exploration of the blood, sweat, and tears that go into making a book. (Room A)
1:30 pm // Gahan Wilson: Playboy and Beyond: We explore the long, storied career of satirist Gahan Wilson. (Room B)
2:30 pm // Volunteer of the Year: Peter Kuper will present Al Jaffee with the Klein Award! (Room A)
2:30 pm // Dash Shaw and Brecht Evens in Conversation: Dash Shaw and Brecht Evens are among the most prodigious and prolific young artists working in comics today. Both began publishing ambitious work while still in school, and both have since gained notice for their lush, inventive, and thoughtful comics. (Room B)
4:30 pm // The State of Editorial Cartooning: Brian Heater presents a panel with Tim Kreider (along with Ruben Bolling and Ted Rall) on the trials and tribulations of creating political cartoons in 2011. (Room A)
5:30 pm // MoCCA Presents the Cross Hatch Carousel: Cartoonists and voice actors perform live comics readings, featuring our own Michael Kupperman and Ted Stearn, as well as Jeffrey Lewis, R. Sikoryak, Kate Beaton, Lisa Hanawalt, Julie Klausner, and more. (Room A)
Sunday, April 10th
12:30 pm // Almost True: Calvin Reid leads a discussion on where autobiography and fiction collide with Gabrielle Bell and Leslie Stein (and Joe Ollmann and Pascal Girard). (Room A)
1:30 pm // Peter Bagge: A History of Hate: Brian Heater spotlights Peter Bagge, in a one-on-one conversation with one of alternative comics’ most influential and enduring voices. (Room B)
1:30 pm // The Enterprising Will Eisner: Charles Brownstein leads a panel with Jules Feiffer, as well as Denis Kitchen and Paul Levitz. Come learn about who Will Eisner was as an entrepreneuring artist in a time when New York was the center of the commercial art universe, and how his art was shaped by that environment. (Room A)
3:30 pm // Ink Panthers Live: The popular podcast live, with special guests, like John Kerschbaum. (Room B)
It is true: after much foofaraw and mishegas, The Comics Journal #301 went to the printer last week and is due to be available in May. (You may have come across an earlier version of the cover here on our website, but here for the first time is the final version.)
The Journal is reborn. In these 600+ pages: R. Crumb interview & critical roundtable on Genesis; Joe Sacco interview; Jim Woodring, Tim Hensley & Stephen Dixon sketchbooks; Jaffee & Kupperman in conversation; Gerald McBoing Boing; much more.
This volume is guest designed by internationally respected Criterion art director Eric Skillman.
See here for more information on the issue and stay tuned for updates and previews.
• Review: "We are witness to a man's life unfolding, unraveling, before us in a series of postcards that leave nothing — or is it everything? — to the imagination. I don't know Drew Weing, or whether he's lucky or good, but in Set to Sea , he has reminded me once again just how much story you can share in a brief flurry of comic panels, so long as you know how to trim the sails and catch the wind." – Steve Duin, The Oregonian
• Review: "...Set to Sea... is so much more than a hauntingly inspiring story about a poet who ends up on a sea vessel. It is so much more than page after page of highly-detailed illustrations. It feels like a small precious art book full of engravings or paintings on each page or an old illustrated maritime novel. [...] Weing’s art is mesmerizing. You could stare at one page for hours. Each page is carefully planned and crafted to maximize its storytelling ability and it is easy to see the love and effort that went into each line and crosshatch." – Shawn Daughhetee, The HeroesOnline Blog
• Review: "The pages [of Set to Sea] are incredibly expressive, able to convey longing, panic, rage, camaraderie, mourning, and ultimately peace. Weing manipulates whole compositions to achieve these effects, not merely the expressions on characters’ faces." – Joshua Malbin
• Review: "Drew [Weing] uses the possibilities of the medium to perfection [in Set to Sea], telling the life story of the guy page by page, somehow pulling the impression of a richly lived life through scattered moments." – Kevin Bramer, Optical Sloth
• Review: "Imagine Sad Sack stepping out of his cartoon world and into ours — warts and all — and that’s what Lucky in Love almost feels like. [...] The real star of the show here is artist DeStefano, who mixes up this 1940s world as one-part humor strip outrageousness, and one-part gorgeous Will Eisner-style dramatic noir — a real visual tour de force." – John Seven, Worcester Magazine
• Review: "Revealed in these pages [of A Drunken Dream and Other Stories] are gentle but dark stories that are preoccupied with the loss and alienation that their intended audiences no doubt feel, often without any tangible reasons beyond the purely psychological. Several stories stand out for cherry pickers, but you’ll be rewarded by each entry." – John Mitchell, North Adams Transcript
• Review: "...The Artist Himself... present[s] a compellingly fresh... approach to the history of the medium... What makes The Artist Himself unique is in the title itself — Rosenkranz has constructed a sprawling portrait of Rand Holmes as a man in conflict with the 'the artist himself' — a man trying to carve out a way to live that allowed for art (never an easy feat) and an art that somehow made sense in his life. ...[A]side from the obvious benefits of learning about Holmes, I found myself selfishly drawing tremendous inspiration from Rosenkranz as he demonstrated the richness possible in writing the history of comics. He draws the curtain back as if to say, 'see, here’s someone you hardly think of, who lived an extraordinary life, and it’s a life that must be reckoned within the history.' It radically broadens what we think of as a cartoonist’s life, and in that Rosenkranz has given us a great gift." – Dan Nadel, Comics Comics
• Review: "If Love and Rockets: New Stories #3 only contained Gilbert Hernandez’s 36-page 'Scarlet By Starlight,' it would still be one of the most significant new comics of the year. [...Jaime's] 'The Love Bunglers' and 'Browntown' offer the kind of rich, intricate stories — packed with sharp observations about human desire and self-justification — that only an author with 30 years of experience with these characters could write. But readers don’t need to have read all the previous Maggie tales to follow them. Everything a newcomer needs to know is woven neatly into the stories themselves... There are acclaimed filmmakers and novelists who can’t do what Jaime Hernandez does — or Gilbert, for that matter. When the two of them are at their most inspired, as they are here, they make almost every other comics creator today look like a fumbling hack. [Grade] A" – The A.V. Club
• Review: "I won't pretend to have a clue as to what Beto's trying to do with this stuff; sometimes he seems to be paying tribute of sorts to junk cinema and/or comment on the current state of the movies, and sometimes it seems like he just wants to draw to naked dudes beating a cop to death with a rock. ...Jaime is note-perfect throughout, using every nuance and trick at his command to engage and move the reader. It's a masterwork, and I'll be damned if I can tell what he'll do for an encore. ...[T]his one brings the goods. If you care at all about this series and those characters, you'll want to get this [issue of Love and Rockets: New Stories]..." – Johnny Bacardi, Popdose
• Review: "...[T]his one is really damn good, with a typically surreal and horrifying story from Gilbert and an excellent bit of character work from Jaime. Isn't it awesome that stuff on this level is what we've come to expect? [...] Yes, it's another great issue of one of the best comics series of all time; what else is new? Jaime and Gilbert are rightfully revered as all-time great creators, but the fact that they are still pumping out incredible work and bettering themselves, sure to keep doing it for as long as possible, should make readers celebrate their wealth and fortune. Even if everybody else quit, we would still be pretty lucky. Long live Love and Rockets!" – Matthew J. Brady, Warren Peace Sings the Blues
• Review: "You open a Xaime story, you know what you’re gonna get. He’s a known quantity/quality on the richest level... With Xaime, you’re going to get a perfectly-told Locas story: clean... and humanistic and relatable, funny, sad, the whole package. Beto, on the other hand …. His shit is scary creative, and sometimes just scary. Gilbert is the higher mathematics, you know what I’m saying? Ever since 'Human Diastrophism' I haven’t felt safe in his company, haven’t trusted that crazy bastard. Because he will do some fucked-up shit when you least expect it. [...] So, boom, right on Jump Street of Love and Rockets: New Stories #3 there’s a Gilbert story. Deep breath. Okay. In we go with gun and flashlight." – Rob Gonsalves, Rob's Comics Zone
• Review: "The colors are garish, the stories grotesque, and the art much freakier than the norm. Where EC’s comics are more akin to the drive-in fodder of American International Pictures, the comics in Four Color Fear are the equivalent of a David F. Friedman grindhouse roughie: lurid, exploitative, and just plain wrong. In short, this book is awesome. Making it even more awesome is Sadowski’s annotation: ...the layer of scholarship is enough to make reading about decaying zombies and devil-worshippers seem almost ennobling. [Grade] A-" – The A.V. Club
• Review: "Caricature is a bit of a dying art, but there’s still a place for it, especially in a celebrity-obsessed culture like ours that goes out of its way to make its idols look even better than they already do. That’s why we need Drew Friedman, whose precise, pointillist style has been putting the rich and famous to the sword for decades. His new collection, Too Soon?: Famous/Infamous Faces 1995-2010, features another round of his inimitable caricatures, which manage to make everyone from venal creeps to well-meaning politicians look alternately hideous and noble. Friedman is still at the top of his game... [Grade] B+" – The A.V. Club
• Review: "One of the lesser-known lights of the Golden Age, illustrator Mort Meskin was a prolific workhorse whose angular, action-packed style and use of deep shadow effects would prove a huge influence on Steve Ditko. From Shadow to Light: The Life and Art of Mort Meskin, a new biography of Meskin compiling exhaustive interviews with his peers and extensive cooperation from his sons, doesn’t lack for material. It also has plenty of great anecdotes, and through quality reproductions, it skillfully makes its case that its subject was a very talented artist. [Grade] B-" – The A.V. Club
• Review: "The 1930 DeMoulin Bros. catalog, or Catalog No. 439: Burlesque Paraphernalia and Side Degree Specialties and Costumes, ...reached the jester of a more or less pronounced sadistic orientation, and offered them the tools and effects that made it possible to fool friends (?) to put their heart in their throat and give them pain here and there. Fantagraphics Books has recently reprinted the directory again (along with several essays that comment on product selection in a cultural perspective)... Although one might prefer to avoid being exposed to the tricks that comprise the DeMoulin catalog, I must admit that I laughed both three and five times when I looked through the offerings. Most of us probably have a little sadist in us, I guess." – Kjetil Johansen, Nekropolis – Den Historiske Bloggen (translated from Norwegian)
• Plugs: "Well, in our rambunctious endeavour to keep up with the literary radness of the Northwest, we... want to point you toward [Jim] Woodring’s newest graphic novel, Weathercraft, which is out now from Seattle-based publisher Fantagraphic Books. In addition to Weathercraft, we personally recommend their series Love and Rockets, from Los Bros Hernandez. If you’re looking for some reading that really is graphic, like super sexy female bodies comin at ya with homoerotic undertones that are never unleashed but still drive you crazy, you’ll want to pick up Love and Rockets. This series is an endlessly delicious ride through the relationships of men and women in crappy southern California neighborhoods." – Lori Huskey, Dark Sky Magazine
• Profile:Robot 6 presents a "Comics College" introductory guide to the work of Kim Deitch, written by Deitch Universe expert Bill Kartalopoulos: "Kim Deitch is an enormously vital and prolific cartoonist who was also one of the charter members of the underground comix scene that changed comics in the 1960s and 70s. [...] More than forty years later, Deitch stands as one of the few underground cartoonists who has steadily and consistently produced a large body of important work, spanning every available format from the alternative weekly comic strip to the graphic novel."
• Interview:Al Jaffee touches briefly on his Humbug days in this extensive Q&A with Mother Jones's Michael Mechanic: "I loved Harvey [Kurtzman] and I miss him to this day. He was a very, very inspiring guy. He was inventive and inspiring and he also was just a scrupulous editor. He could catch things that most people would just say, 'Let it go through, it really doesn't matter; who's going to know?' But once Harvey pointed it out, I would change it even if it took me the whole day. Harvey knew how to make things work because he wasn't greedy, he wasn't successful." (Via ¡Journalista!)
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