Someone buy THIS for me? There was a time that we had this painting in the Fanta offices for awhile, during production of the first GHOST WORLD hardcover edition in 1996 or 1997. It's much larger in person than it was ever reproduced. I loved it so much I made a full-size color xerox of it that I still have. I'll just have to get that framed, I guess. *sigh*
• Commentary: "The completion of Fantagraphics's Krazy [Kat] Sunday series also means, quite possibly, the end of Krazy Kriticism — a brand of writing that, as far as I can tell, only the Kat engenders. Critic Gilbert Seldes first articulated its credo in the 1924 article 'The Krazy Kat That Walks by Himself.' After comparing Herriman to Dickens, Cervantes, and Charlie Chaplin, Seldes threw up his hands: 'It isn't possible to retell these pictures; but that is the only way, until they are collected and published, that I can give the impression of Herriman's gentle irony, of his understanding of tragedy, of the sancta simplicitas, the innocent loveliness in the heart of a creature more like Pan than any other creation of our time.' Thus did the gates open to a flood of ecstatic, mimetic writing in which every critical impulse was mercilessly drowned in gushing praise and fervent prayers to put the comics between covers." – Sarah Boxer, Los Angeles Review of Books
• Commentary: At Print magazine, Steven Brower looks at different ways comics publishers restore and present vintage comics material, including his own compilation of Mort Meskin comics, Out of the Shadows: "For the Mort Meskin collection, we hoped that a contemporary audience would rediscover him; Fantagraphic’s fresh, newly minted approach goes a long way toward achieving that."
• Review: "I mean this in the nicest possible way but self-confessed obscurist Hans Rickheit is clearly not all there in the head. ...[Folly: The Consequences of Indiscretion] is a collection of shorts from over the years, frequently featuring the same characters, in particular identical twins Cochlea & Eustachia, who inevitably get themselves into all sorts of unpleasant bother. Definitely the type of read to make you wary of opening doors when you’re not entirely sure what’s on the other side, as Hans frequently surprises his characters, and us readers, by taking you somewhere you’d never expect, nor probably want to go to." – Jonathan Rigby, Page 45
• Review: "‘Plunder Island’ is the fourth of six oversized volumes collecting all of E.C. Segar’s Popeye-era Thimble Theatre strips.... The Segar book is every bit as good as the three volumes that preceded it – brilliant cartooning and laugh-out-loud funny gags. The only difference this time around is that the Sunday strips fill the first half of the book and the dailies fill the second half (it’s usually the other way around) but otherwise it’s business as usual. I don’t have a single bad thing to say about Segar’s Popeye, and the whole book was thoroughly enjoyable..." – Rob Wells, Comics – On The Ration
• Profile: Andrew Dansby of the Houston Chronicle profiles Daniel Clowes: "Clowes describes an eerie but common sight in his studio. Since eyes are the last thing he draws when he's working, the room is full of characters without them. 'I've had other cartoonists come over, and they've told me it's pretty creepy to see all these faces with no eyes staring back,' he says. 'But that's where I can get the last 10 percent of the emotion on the page. If I get it just right, you can subtly influence any expression through the eyes more than any other feature. They're where the character comes to life.'"
Starting to catch up on Online Commentary & Diversions:
• Review: "The frighteningly hilarious world of Rickheit’s graphic novel is a deranged cabinet of curiosities, full of biomechanical tanks, writhing organic matter, amorphous monsters birthing adorable kittens, men and women in animal masks, and countless tubes, gas masks, sex toys, and pseudo-Victorian apocalyptic landscapes. It would all be too oppressive if Rickheit’s sense of humor weren’t so addictive.... This juxtaposition of dry humor undercuts the richly drawn horror of Folly, simultaneously adding to its strangeness and making it bearable for a casual read... The result is a narrative mosaic that pairs sumptuous, horrific imagery against a strange but lighthearted sense of humor." – Publishers Weekly
• Review:Walter Wehus looks at Kolor Klimax; key quote as translated by Kolor Klimax editor Matthias Wivel: "the common aspect is quality"
• Review: "While exploring this collection, I found myself enjoying the various challenges it presented. It did dare me to eschew my 'western' values of linear, results oriented thinking and simply give way to my intuitive understanding of the art before me. I can’t honestly say I 'get' every comic contained withing this anthology [Abstract Comics]... nor can I truly say I learned something about the medium that I didn’t already know. But to see comics stripped of their representational elements does amplify certain things that are so unique about the medium and probably reveals its potential even more fully. These are comics to be experienced." – Jason Newcomb, StashMyComics
• Preview:The Beat's Jessica Lee presents a 6-page preview of Nicolas Mahler's Angelman, saying "If you’ve noticed yourself to be a comic enthusiast who has become more and more disillusioned with the corporate transformation of super-hero comics, Angelman could well be the fresh breath of illustrated air you’ve been yearning for. What could easily be one of the most comedic releases thus far this year, Fantagraphics is releasing (in hardcover no less!) a new graphic commentary of the often-times outrageous and unbelievable trends in the comic industry."
• Profile:The Wall Street Journal's Ralph Gardner Jr. on the work and career of Drew Friedman: "Mr. Friedman's genius is that, on some level, his work is never utterly absent affection, or his subjects black and white, even when they're literally drawn in black and white. It might be a stretch to say that the artist captures their underlying humanity. What he does provide is a picture window onto their troubled psyches so that they and their moral afflictions, whatever they are, must be taken seriously."
• Interview: I don't think we've previously linked to Ted Widmer's career-spanning interview with Robert Crumb from the Summer 2010 issue of The Paris Review: "I was so eccentric when I was seventeen, eighteen, I used to walk around town wearing an Abe Lincoln frock coat and a stovepipe hat that I’d found in some junk store, defying people to ridicule me or think me eccentric. I was a teenage social outcast. At the time it made me feel very depressed, and rejected by girls. Later I realized I was actually quite lucky because it freed me. I was free to develop and explore on my own all these byways of the culture that, if you’re accepted, you just don’t do. I was free to explore the things that interested me."
• Interview (Audio): The Daniel Clowes victory lap continues with an appearance Monday on NPR's Morning Edition: "Clowes never aimed to be the kind of artist museums collect. But now, the walls of the Oakland Museum of California are covered with his drawings. It's 'quite embarrassing,' he laughs. After a stint as an art student at Brooklyn's Pratt Institute in the 1970s, Clowes tried unsuccessfully to get work as an illustrator. Sitting around drawing comics on his own, he decided to send a strip to underground publisher Fantagraphics. He was expecting rejection. Instead, 'they called me up and offered me a monthly comic book, and I felt like I hadn't earned anything,' he says. 'You know, it's like all of a sudden, you're being made president after you've been like, you know, on the city council in Cleveland.'" KQED also posts a couple of outtakes from the interview
• Interview: At The Comics Journal, Nicole Rudick talks with Diane Noomin about her new collection of DiDi Glitz stories, Glitz-2-Go: "In 1974, I did a full-fledged DiDi story for Wimmen’s Comix. It was four pages and was called “She Chose Crime”, and when I was putting this book together I realized that DiDi came out almost fully developed. She hasn’t changed, she hasn’t grown or anything like that. If I look at that first story, the drawing has changed and I’d like to think that certain things have gotten better, but in that story, DiDi’s persona is it. I don’t think I’d realized that."
• Review: "Record collecting was an engagement with mystery. [Pat] Thomas understands this and his book, Listen, Whitey, which documents the pieces -- both lauded and obscure -- of the recording element within the Black Power movement of the 1960s and ‘70s.... These small discs were part of the overall effort that allowed African Americans to get real information about the Black Power Movement, to let them know they weren't alone, to show them ways to be involved, to stoke ideas and energy, and to provide catharsis. Thomas mines this territory to construct a richly illustrated history of a time when revolution was damn hard, and it left reminders that it once existed." – John Seven, North Adams Transcript
• Scene: Culture blogger Philip Utley of Kellygreen reviews the Daniel Clowes retrospective exhibit — "There’s a quiet, clever intelligence to his work. He can also be harsh and sexually frank. Which, of course, totally offends me. So, when a show of his work came to the newly renovated Oakland Museum of California, I pulled out my dildo and jumped in the car." — with a bunch of close-up photos of the artwork
• List: For The Guardian, comics creators Bryan & Mary Talbot select their top 10 graphic memoirs, with Joe Sacco's Palestine at #4: "Sacco was trained as a journalist and singlehandedly created the genre of reportage in graphic novel form. Immersing himself in a situation, his in-depth reports use the medium of comics to its full potential. Like his Safe Area Gorazde or recent Footnotes in Gaza, Palestine follows his experiences as he investigates events and interviews residents, explaining the history, politics and dynamics of the place as he goes along. The palpable sense of place and the feeling that we're in the presence of the people who relate their experiences to him (and therefore to us) is a testament to his storytelling skills, his work being far more intimate than that of a filmed documentary. Sacco is a master of this medium."
• Feature: "Compiling the book was a learning experience for Thomas... 'They (the Panthers) switched from a gun-toting paramilitary organization to a more community-based entity offering free food, clothing, and medical care,' he says. And, perhaps, this may be Listen, Whitey!’s biggest strength — and greatest contribution — to future discourse about this topic that has been so distorted and misrepresented in its presentation to the consciousness of mainstream America. Maybe now, 40 years after the histrionics and exaggeration, enough time has passed so the emergence of Black consciousness can be scrutinized with a measure of clarity." – Gregg Reese, Our Weekly
• Interview: At The Atlantic, Steven Heller has a Q&A with Daniel Clowes: "I was trying to get work as an illustrator in the '80s, but no art directors actually ever called, which is what led me to throw up my hands in despair and slink back to comics. Originally, I was hoping to find a writer to collaborate with, since I was much more interested in the drawing part of the equation, but that didn't work out. And so I began writing my own stories."
• Review: "The names here are mysterious, but the book makes a good case for many of the artists to be better known, which seems to be its intent. Tommi Musturi’s 'Samuel' stories, for example, several of which are included, are colorful, wordless, and Zen-like in their focus on the here and now. Joanna Rubin Dranger’s 'Always Prepared to Die for My Child' is another highlight, with simple drawings that manage to convey a lot. And Jenni Rope’s minimalist stories, which nearly bookend the volume, are poetic and impressive.... The number of woman cartoonists is also worth noting, partially because there’s no attention called to it. Kolor Klimax is a good first offering and may well indicate a series worth revisiting." – Hillary Brown, Paste
• Review: "Between the heavy cross hatching and almost wood-carved appearance of Rickheit’s art and his fixation on the degraded physical form, Folly often looks like a Jan Svankmajer film or Tool video adapted by Geof Darrow or Jim Woodring. Rickheit’s work is visually striking... Folly is a gorgeous but uncomfortable collection best enjoyed a few pages at a time." – Garrett Martin, Paste
• Review: "Like a Velvet Glove [Cast in Iron] is an early work by a creator who will later become one of the artform's greatest creators. There are themes and moments in this book that will be revisited in Clowes's later works, and revisited in smarter and more focused ways in some of his newer and greater works. Daniel Clowes is clearly building his skillset in this book, as he works on his art style, story progression and thematic obsessions. But it's still an incredible work of art that shifted my perceptions of the world a bit as well." – Jason Sacks, Comics Bulletin
• Interview (Audio): Mike Dawson's final guest as host of The Comics Journal's "TCJ Talkies" podcast is Tim Kreider, about whom Dawson writes in his intro, "Tim has often insisted that he doesn’t consider himself a proper political cartoonist, but was only drafted into writing about current events by the lunacy of the times. It’s true that going back and re-reading Tim’s comics in the run-up to the Iraq war, is a vivid reminder of how hysterical things were at that time (not in a good way)."
• Analysis: Matt Seneca examines a 1937 Krazy Kat strip for his column at Robot 6: "This page expresses a single gem of an idea, duality of character. It’s an idea both simple and profound, perfectly suited to Herriman’s aesthetic, and the way it’s put forth is so straightforward that it’s easy to read the strip over time and again before realizing that what it achieves could only be done using the comics medium."
Gilbert and Jaime Hernandez happened to be together in L.A. recently for the launch of the Daniel Clowes art book at Meltdown Comics and the folks there seized the opportunity to have the brothers sit down for an enjoyable chat on the Meltcast 2.0 video podcast. Topics include formative comics reading experiences, favorite superheroes, inspiration for their characters, and of course Dan: "The guy knew Mexican monster movies, like us, so why not be his friend?"
• Review: "Here’s the thing about Pogo. There’s never been anything like it. It’s utterly unique and individual in the same fashion that Peanuts, or Calvin and Hobbes or Little Nemo or any other of the great 20th century comic strips are.... It’s a much weirder strip than I think most people give it credit for and that is certainly something worth both recognizing and admiring." – Chris Mautner, Robot 6
• Review: "I highly recommend anyone who has an interest in LGBT issues to pick up Wandering Son, regardless of whether or not you read a lot of manga. It is, in many ways, distinctly Japanese, but its straightforward and honest deception of gender issues is rare in any medium, and it shines equally as a coming-of-age tale, especially for anyone who's ever felt they never quite fit in." – Anne Lee, Chic Pixel
• Review: "Prior to 1947, romance existed in comics but primarily as the humorous teenage variety for young readers, typified by the gang from Riverdale in Archie Comics. Simon and Kirby re-imagined the concept with mature stories aimed at adults, primarily women.... Fantagraphics recently collected many of these stories in the handsome hardcover Young Romance: The Best of Simon & Kirby's Romance Comics. Within the true artistic mastery of Kirby becomes evident. The same man, well known at the time for his bombastic stories, delivers these subtle, very human tales of angst, betrayal, and of course love. The volume's essays place these tales within the proper historical context. The beautiful reproductions were completely restored and unlike some of the Marvel Kirby reprints, nothing was recolored." – Rick Klaw, The SF Site: Nexus Graphica
• Interview:Drew Friedman writes us: "I wanted to share. This is the new online issue of INK, SVA's Student run comics mag, featuring an interview with me, also an article about WFMU radio's connection to cartoonists. This is pretty impressive I think. Enjoy!"
• Interview:Robot 6's Tim O'Shea has a Q&A with Kevin Huizenga: "Seems to me like you’re doing something wrong as a writer if you’re not affected or surprised by your own work. But it’s not something to talk about. You’re not supposed to laugh at your own jokes. The author at his desk, deeply moved by his own work is a pretty funny image."
• Scene: "In the exhibition, titled, 'Modern Cartoonist: The Art of Daniel Clowes,' we find the artist revealing the weird underbelly of America through quick and methodical strokes of a pen. Furrowed brows, sneers, and nervous beads of sweat accompany many of Clowes' odes to anxiety, causing us to acknowledge the strange and desperately sad state of his characters, who are striving to fit in." – Kathleen Massara, The Huffington Post
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