• Interview: On the National Post, Nathalie Atkinson interviews Gabriella Giandelli on her graphic novel, Interiorae., and the retrospective exhibit at the Italian Cultural Institute. Giandelli states, "There are some stories where it would be possible to have the soundtrack of what you listened to during the work for every page of the story. Or sometimes the song is inside my work — nobody knows but for me it’s there."
• Review:The Weekly Crisis solves the weekly dilemma for you with a "buy it" verdict for Gabriella Giandelli's Interiorae. Taylor Pithers says, "Giandelli also weaves magic on the way the other characters speak. There is a certain rhythmic beauty to the dialogue that gives the whole book a feeling of quiet, almost as if everyone is speaking in soft tones."
• Review: The Boston Phoenix gets a slap in the face from Hans Rickheit and asks for more. In the review of Folly: The Consequences of Indiscretion, S.I. Rosenbaum says, "It's as if other masters of visual bodyhorror — Cronenberg, Burns, Dan Clowes, Tarsem Singh — are weird by choice. Rickheit, it seems, just can't help it. There's a conviction to his creepiness, a compulsive nature even in his early draftsmanship."
•Commentary: BEA was last week and Publishers Weekly couldn't get enough of Associate Publisher Eric Reynolds and new book, The Hypo by Noah Van Sciver. Heidi MacDonald and Calvin Reid teamed up to cover the event: "Eric Reynolds said it was a good show for the house, noting that all the galleys for Van Sciver books were taken and there was “huge interest” in Fantagraphics titles, like the Flannery O’Connor: The Cartoons."
•Review:The Comics Bulletin reviewed God and Science: Return of the Ti-Girls by Jaime Hernandez. In the wake of near-universal criticism for super hero comics, Jason Sacks gives an angsty-yet-positive review: "[God and Science] is indeed very indy and quirky and idiosyncratic and personal and uncompromising as any of Jaime's comics."
•Plug: The blog for CAKE (Chicago Alternative Comics Expo) mentioned the our newest collection, No Straight Lines. "LGBTQ cartooning has been one of the most vibrant artistic and countercultural movements of the past 40 years, tackling complex issues of identity and changing social mores with intelligence, humor, and an irreverent imagination. No Straight Lines: Four Decades of Queer Comics . . . is the most definitive collection to date of this material, showcasing the spectrum from lesbian underground comix, to gay newspaper strips, to bi punk zines, to trans webcomics." Debuting this weekend at Cake in Chicago, you can find editor, Justin Hall, at table 76.
•Review: A short-and-sweet review on Scripp News popped up today. Andrew A. Smith tips his hat to Mysterious Traveler: The Steve Ditko Archives Vol. 3. " . . .despite the stultifying constriction of the draconian Comics Code of 1954, Ditko managed a remarkable body of work in both volume and content. Even more amazing is his accelerated learning curve, which shoots straight up from first page to last."
• Preview/Interview: At Print Magazine, Michael Dooley presents a bunch of pages of The Sincerest Form of Parody: The Best 1950s Mad-Inspired Satirical Comics and has a quick Q&A with editor John Benson: "When Isaac Asimov edited his massive Before the Golden Age anthology of 1930s science fiction... he relied entirely on his memories of reading the stories when they first appeared, and that's how he made his selections. Similarly, Jules Feiffer largely relied on his memories of the stories from his original reading when making selections for his seminal The Great Comic Book Heroes in 1965. Like the Asimov and Feiffer books, The Sincerest Form of Parody is partly an exercise in nostalgia, so in making my selections, I think it's fair to give some consideration to my reaction to the material when I first saw it."
• Review: "...Fantagraphics recently unlocked whatever crate must have been used to house Mr. Twee Deedle: Raggedy Ann's Sprightly Cousin: The Forgotten Fantasy Masterpieces of Johnny Gruelle. Over a foot long and over a foot-and-a-half tall, the hardcover features the most beautiful endpapers in recent memory. Gruelle’s artwork is full of whimsy, presented in both the richest nostalgic color and black and white. The narrative involves two children on a journey through a magical land as guided by a wood sprite, but this is truthfully an art book. It’s meant to be read sprawled out on the floor, the only surface in an average reader’s home that is likely large enough to properly balance this fine luxury. Rick Marschall provides a lengthy, informative essay that is lavishly accompanied by further illustrations." – Alex Carr, Omnivoracious
• Review: "In an age of indie-comics dependent upon the banality of the everyday, a hesitant realism, Rickheit eschews reality in favor of the impossible, a state of existence that is truly fantastical. But this is not a utopia, this is a world entirely of the body, though not only the body of human beings, but the body of all living meat, of anything that breathes and shits. This is a world of pure imagination, of subconscious desires let loose with an acutely detailed drawing style. And ultimately, [Folly]’s a perfect work for those who refuse to float away from their bodies but are ready to let their heads go where-ever one can find the new." – Invisible Mike, HTMLGIANT
• Tweet of the Day: "I just read The Furry Trap by Josh Simmons; I'll be on the Internet the rest of the day looking for instructions on how to boil my eyes." – Tom Spurgeon (@comicsreporter)
• Review: "Josh Simmons' book The Furry Trap is truly disturbing in its depravity. Makes Ultra Gash Inferno look cute. An inspiring & exhilarating read! How many comics can you honestly say made you sick or upset when you read them? Furry Trap made me question the First Amendment at times." – Sammy Harkham
• Review: "By this point, the reader will know if [Dungeon Quest] is their cup of tea; anyone who enjoys alt-comics takes on fantasy and/or stoner humor will find this a sheer delight. I'd say the sheer level of craftsmanship and the way Daly shifts storytelling modes so quickly would at least interest other readers, especially those who enjoy deadpan absurdism, since that's the core of Daly's sense of humor. For the continuing fan of this series, Daly continues to raise the stakes in each volume and adds richness and depth for those who are looking for more detail. Above all else, he does for the reader what he does with his party: he keeps things moving even when his characters are navel-gazing." – Rob Clough, High-Low
• Review: "...Moto Hagio has more on her agenda than simply trotting out tired 'girly' storylines. Her protagonists struggle with loss, rejection, and insecurity in a manner sure to strike readers as honest and familiar, never reductive or patronizing.... The stories collected here [in A Drunken Dream] span 31 years of Hagio’s career and, while the later stories do seem a bit looser and more confident, the earlier stories certainly don’t suffer by comparison." – Andrew Fuerste-Henry, No Flying No Tights
• Review: "Boasting [Fantagraphics'] usual high-production values and showcasing the genesis of the indie comics icon, [Usagi Yojimbo, Book 1:] The Ronin is a meticulously curated artifact of comics history.... The book is worth buying for the art alone. Sharply reproduced on gratifyingly durable stock, the quality of the lines leap out from the page even in these early stories." – Abhimanyu Das, Slant Magazine
• Profile: At Comic Book Resources, Shaun Manning talks to Nicolas Mahler about his superhero spoof Angelman: "Mahler said he does not have an in-depth knowledge of the major events and storylines [in superhero comics] of recent years, but said he is still familiar with the culture. 'I think my point of view is very '80s, that is when I stopped reading them,' he said. 'After that, I only have very superficial information. I know more about the fanboys, actually. I enjoy the scene around superheroes more than the stories themselves. I like it when people take this very seriously, and can debate endlessly about little faults in a superhero's universe."'
• Interview: Following an introduction in his native Greek, Comicdom's Tomas Papadimitropoulos posts his untranslated (i.e. English) Q&A with Hans Rickheit: "I am compelled to draw these comics.... These stories follow a certain pattern of logic that makes sense to me. I don’t have the vocabulary to explain how it works, that is why I draw them as comic strips."
• Interview:The A.V. Club's Keith Phipps has a great Q&A with Daniel Clowes: "I can look at my early work and see what a pained struggle it was to draw what I was drawing. I was trying so hard to get this specific look that was in my head, and always falling short. I could see the frustration in the lines, and I remember my hand being tensed and redrawing things a thousand times until I finally inked it, and just having this general tense anxiety about every drawing. I think that comes through in the artwork, and gives it this certain kind of manic energy, this kind of repressed energy, so you feel like it’s sort of bursting at the seams or something."
• Interview (Audio):Daniel Clowes sits down for a chat on Bay Area NPR station KQED's Forum with host Michael Krasny
• Video: Via Meltdown Comics and Boing Boing, a charming short film by Rocío Mesa about a couple of dedicated Daniel Clowes fans
• Plug: "...[W]e recommend checking out Love and Rockets Library: The Complete Vol. 1 from Fantagraphics, which collects every issue of the landmark alt-comic series between 1982 and 1996. In Love and Rockets, Gilbert and his brother Jaime Hernandez wrote stories ranging from satire to political intrigue, and introduced such noteworthy characters as Luba, the temperamental, full-figured mayor of a Central American village, and Maggie Chascarrillo, a punk rock-loving Mexican girl who becomes a solar mechanic. ...[T]here's no better time to become a Los Bros Hernandez zombie than right now." – Phil Guie, Critical Mob
• 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."
Lovers of art comics know Hans Rickheit from his smashing graphic novel The Squirrel Machine (2008), but Rickheit has, for over a decade, been producing his own self-published comics — reaching into the deepest cupboards of the back-mind and culling these strange artifacts. He has been a basement-dweller, gallery troll, and a purveyor of forbidden notions. Originally distributed into the world as Xeroxed pamphlets, these “underground comix” reflect the true nature of its nomenclature: Here are the archeological findings of the subterranean ruins of the psyche. Finally, these scattered elements have been compiled into a compact, lushly illustrated bedside reader. Give your cerebellum a tug and become a spelunker of the subconscious as we trespass among the scorched archaic wastelands of the offspring of apes and fools. Here we find the profane, beautiful progeny of prurient ideals. Immerse yourself in the nocturnal meanderings of unnamed protagonists. Ponder the uncomfortable sexuality of the twins, Cochlea & Eustachia. Recoil at the doings of a dwarfish malefactor in "Hail Jeffrey," or simply stare at the pretty pictures. Suffice to say that readers of The Squirrel Machine will not be disappointed.
The author instructs you not misuse this tome. Poke it gently with a long stick, if you must. Careful, it might ruin the carpet. Placate it with a belly-rub or sweet pastry before it attacks the children. Don’t worry, your tongue won’t stick. If it fits, don’t shove it in too quickly. Keep it as your own cherished object; a shameful, guarded secret. The filter for reality’s blinding glare. Detritus of the Under-Brain. The Unspeakable Thing You Always Knew.
Folly: The Consequences of Indiscretion. By one of the most inscrutable and discomfiting cartoonists alive.
• 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."
Just beginning to catch up on Online Commentary & Diversions:
• Profile: With his big new art book out and his museum retrospective on the way, Daniel Clowes gets the New York Times profile treatment from Carol Kino: "Mr. Clowes can create a striking face with a few deftly placed lines or brush strokes, often seizing on some specific characteristic that summons up an indelible personality. Think of Enid Coleslaw, the snarky teenage anti-heroine of Ghost World, and her big, black nerdy-hip glasses; they cover most of her face, but they can’t conceal the tiny shifts in expression that loudly telegraph her mood."
• List:Daniel Clowes may be headed for a museum retrospective, but he is neither dead nor retired — but that doesn't stop Flavorwire's Elona Jones from naming 10 candidates to carry the torch of "his storytelling skills, interest in surrealism, and eye for biting observations," including Jason, who "receives international acclaim for his brilliant storytelling."
• Review: "The John Benson-edited anthology The Sincerest Form of Parody: The Best 1950s MAD-Inspired Satirical Comics assembles largely forgotten work by the likes of Jack Davis, Will Elder, Ross Andru, and Jack Kirby, parodying everything from Mickey Spillane novels to Rex Morgan, M.D. Some of these pieces can stand up to the best of Mad (or at least match the magazine’s average), but even the stories that are clunky and unfunny are fascinating for the way they rip off Mad shamelessly, including all the asides and mini-gags that Will Elder once labeled Mad’s 'chicken fat.' It’s a testament to how quickly the innovative and subversive can become mainstream." – Noel Murray, The A.V. Club
• Review: "Next to Pogo, the newspaper comics collection that fans have been most anticipating would be Ernie Bushmiller’s Nancy, which over the past few decades has garnered a reputation as the purest distillation of the gag cartoon, a triumph of minimalism... Nancy Is Happy: Dailies 1943-1945 joins Bushmiller’s magnum opus in full swing ... Bushmiller’s genius [was] to make everything in his strip so basic that anyone, anywhere, at any time, could get the joke." – Noel Murray, The A.V. Club
• Review (Video): Video blogger Robert Crayola looks at Nancy Is Happy: "If you like comics or comic strips especially and you haven't read Nancy or if you have and you just want more, I think you'll enjoy this.... Hopefully we can get many more volumes of this. I hope you support it. It's a great book."
• Review: "One of the signature achievements of ’80s alt-comics, Drew and Josh Alan Freidman’s Any Similarity to Persons Living or Dead Is Purely Coincidental: An Anthology of Comic Art, 1979-1985 is now back in print in a spiffy new edition that doesn’t really add anything to the original, but is still a necessary addition to any library that doesn’t already have a copy.... Drew Friedman’s stipple-heavy photo-realism and his brother Josh’s gleefully cruel humor combine to craft an alternate history of American entertainment that’s preposterous and yet feels true. Even now, decades after other cartoonists and comedians have tapped this well, the Friedmans’ pioneering work in the field of 'brattily dicking around with icons' remains unparalleled." – Noel Murray, The A.V. Club
• Review: "Folly... serve[s] as a good introduction to Rickheit’s beautifully ugly visions, of a world where cute girls and humanoid stuffed animals commit atrocities against oozing flesh. With a drawing style that resembles Jason Lutes and Charles Burns, and a storytelling style similar to Jim Woodring and Al Columbia, Rickheit excels in making nightmares lucid. Some characters recur from story to story in Folly, but really this book is just page after page of beautiful images juxtaposed with wounds and excreta. The single-mindedness of Rickheit’s approach — and the level of detail he applies to it — is impressively horrifying." – Noel Murray, The A.V. Club
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