Catching up on several days' worth of Online Commentary & Diversions:
• List/Plugs: In an article titled "Fantagraphics: The Greatest American Comics Publisher," GUY.com's Rob Gonsalves says "What the Criterion Collection is to DVDs, Fantagraphics is to comics. Any self-respecting collection of graphic novels, any library public or personal, needs to sport at least one Fantagraphics book," and recommends a nicely idiosyncratic top-20 list of our publications which includes some of our more obscure releases
• Review: "While there definitely were some hardships, Clemente’s life was as unique and joyful as his persona and ball playing skills were, and Wilfred Santiago’s 21: The Story of Roberto Clemente reflects this uniqueness and joy through its own unique retelling of Clemente’s life. [...] The simple joy conveyed in this book is universally appealing... Baseball is a game that is full of life and story, and every year the game blooms in the spring with the trees and flowers of the season. 21: The Story of Roberto Clemente celebrates life, and new life, as much as it does baseball." – Andy Frisk, Comic Book Bin
• Interview: Pittsburgh City Paper's David Davis, who says "In his new graphic novel 21: The Story of Roberto Clemente, the author of 2002's In My Darkest Hour uses Clemente's life to explore issues on and off the diamond. These include the thorny politics of Puerto Rico (statehood or commonwealth status?) as well as the racism Clemente faced in America as a dark-skinned Latino. The result is both a superhero cartoon and a lyrical time-machine, rendered in the regal black-gold-and-white of the Bucs' uni," has a brief Q&A with Wilfred Santiago: "I began my career working on superhero cartoons. That's the look I wanted to get -- somewhere between a cartoon and a painting. I wanted to get the camera right there with him and you're experiencing the action up close."
• Review: "Slavishly documenting and lavishly illustrating through band flyers and set lists and rare record sides and marvelous photography, along with first-person textual accounts, this strange, excited dialogue between misfits in America through bands, venues, zines, and lives and how it was all done punk and how punk was done. [...] Taking Punk to the Masses’ gallant bridging of universal punk history with our own in Ecotopia is a reason to celebrate. Your eyes can gnaw on decades of delicious artwork while you read and watch stories you may have heard of, but after this, will never forget." – Chris Estey, The KEXP Blog
• Review: "In Hate Annual #9, Buddy returns to Seattle to meet the dysfunctional family of his wife Lisa who he has never met despite having been with Lisa for close to 20 years. In a tension-filled 72 hours, Buddy is subjected to senile parents, criminals, and drug addicts. Each page is filled with the sardonic humor and high drama that are staples of Bagge's work. [...] Read this issue slowly because once you're done laughing your head off, you are sure to be sad that you'll have to wait another year to check in with one of the best characters of alternative comics." – Rip Ransley, Stray Riffs
• Review: "The particular fascination in this early work [The Arctic Marauder] is seeing one of the unique individual styles in cartooning at a formative stage. [...] As for the subject matter: It’s an example of parody that continues on when the thing parodied has long faded away. [...] Part of the appeal is feeling superior to an earlier age, and another part is being engaged in the traces of the earlier form embedded in the parody, which you would normally feel yourself too sophisticated to enjoy." – R. Fiore, The Comics Journal
• Plug: "At once a parody and a tribute to late 19th, early 20th century mystery/adventure Jules Verne-esque fiction, this gorgeous one-shot [The Arctic Marauder] is masterfully drawn scratchboard style, as to echo the woodcuts of the era. The result is sumptuous, and look at those elegant art-nouveau panels! [...] Fans of concentrated mysteries, steam-operated machines, dramatic adventures and over-the-top vilains should be all over this!" – 211 Bernard (Librairie Drawn & Quarterly)
• Review: "With Woodring’s skill, I never found myself confused, at least, more than you’re supposed to be. I’ve never read a statement by Woodring saying this, but I always got the impression he wanted you to work for the meaning behind his stories. Even if it’s not the case, I highly enjoy the process. In one graphic novel [Weathercraft], I got what I think may have been a love story, a treatise on spiritual enlightenment and sometimes just a whole lot of fun." – Joe Keatinge, Joe Keatinge's Comics & Stories
• Review: "Weathercraft... [is a]nother volume of nightmarishly beautiful wordless comics by the remarkable Mr. Woodring. Even for those accustomed to his work, there is page after page that makes you say, 'I’ve never seen anything like that before!' And then hide under your bed." – M. Ace, Irregular Orbit
• Interview:Book By Its Cover's Jen Rothman, who says "Ray Fenwick has created yet another masterpiece. His second book, Mascots, hit shelves in the beginning of this year and it’s quite a beauty. It’s filled with his signature style that mixes ornate hand lettering and imagery, creating amusing little narratives," has a Q&A with Ray: "I thought of the idea of mascots because they’re these outrageous, often ridiculous figures, but they’re symbolic of something else. The thing they’re there to represent isn’t ridiculous at all. I thought that was similar in a lot of ways to the work in the book."
• Interview:One Two One Two Microphone Check has a cultural Q&A with our own Kim Thompson: "There is no movie I love but would be embarrassed to talk about in a serious, intellectual conversation, because if I love it, it is worth talking about by definition. (I concede this could be taken as arrogant.) That said, I am mildly embarrassed at how much I actually love Love, Actually."
• Interview: Alex Dueben's great interview with Daniel Clowes at Comic Book Resources touches on Dan's design work for our upcoming series of Crockett Johnson's Barnaby collections: "It's probably the best written comic strip of all time. The artwork is disarmingly simple. It's the kind of thing that I would normally not be attracted to. He uses typography instead of hand lettering and very simple diagrammatic drawings, yet they are perfect, and work beautifully in a way that anything added to it would detract from it. My goal with the design of the book is to follow his very severe minimal design style and try to live up to that."
• Interview: At TCJ.com, Sean T. Collins also talks to Clowes: "I was always baffled that people who liked mainstream comics seemed to really gravitate towards [Eightball #22]. I couldn’t quite figure out what it was about that one, specifically, that made them like that so much."
• Commentary:Tim Kreider pens an essay on the state of the cartooning industry for TCJ.com: "When you’re young, it’s exciting and fun just to have your work published in the local alternative weekly, or posted online, “liked” and commented on and linked to; but eventually you turn forty and realize you’ve given away a career’s worth of labor for nothing. What’s happening in comics now is what happened in the music industry in the last decade and what’ll happen to publishing in the next. Soon Don DeLillo will be peddling T-shirts too."
• Commentary:Robot 6 polled Gilbert Hernandez for their weekly "What Are You Reading?" feature: "The new comics I always enjoy are by R. Crumb, Dan Clowes, Richard Sala and Charles Burns. I haven’t seen Burns’ and Sala’s new books yet but I did read The Bible by Crumb, which I found tedious only because of the subject matter and Wilson by Clowes. That was hard to get through because the protagonist is so supremely hateful. Well executed, though."
The definitive, comprehensive series reprinting the entirety of Crumb's published career enters the mid-1980s with this 15th volume, a period that many critics consider to be the richest of Crumb's career. Anchored by Crumb's contributions to the seminal anthology Weirdo, created and edited by Crumb, this volume includes the first several appearances of classic Crumb character Mode O' Day, the networking fashion plate that serves as a foil for some of Crumb's most biting satire about America's cultural "elite." Other Weirdo highlights include Crumb's fascinating adaptation of Dr. R. Von Krafft-Ebing's "Psychopathia Sexualis," and "Where Has it Gone, all the Beautiful Music of Our Grandparents?", two stories often-cited as being amongst Crumb's very best work. The Weirdo section wraps up with yet another classic, "The Religious Experience of Philip K. Dick," which chronicles the last years of the highly-regarded science-fiction writer who experienced an intense vision of the apocalypse and believed that he was possessed by the spirit of Elijah. Also included are Crumb's first collaborations with the late writer Charles Bukowski, including the chapbook "Bring Me Your Love," as well as several collaborations with Harvey Pekar from his autobiographical series American Splendor. The book is rounded out with a color section that includes rare album art for various jazz and blues greats, as well reproductions of his various comic book covers from this period and an introduction by Peter Bagge. Crumb is the most revealing of all artists, and The Complete Crumb Comics leaves no stone unturned.
The Season of the Snoid: Found in this collection, spanning 1976-1980, are Crumb's classic "social and environmental" rants unleashed in Co-Evolution Quarterly and Winds of Change; the now-famous "A Short History of America"; more collaborations with Harvey Pekar in the gritty American Splendor; the quintissential "My Troubles with Women"; and most important of all, the very first "Snoid" comics! Additional must-have artwork includes a huge dose of rare full-color album cover art from Blue Goose, Red Goose and Yazoo. Even the most devoted Crumb fan will find surprises galore, including a very revealing and long introduction by Maxon Crumb.
• Profile: At the ABC News website, the AP's Matt Moore talks to Robert Crumb during his recent visit to New York City for his Society of Illustrators exhibit opening: "'It was never intended for that purpose, so it's always odd to see it on a wall, or under glass; it was intended for printing and books. It wasn't made as a wall hanging piece,' Crumb said in an interview with The Associated Press. 'For me, the printed copy is the magic moment. When I see it in print — that was the whole purpose of it.'" (AP Photo/Richard Drew)
• Interview: At Previews, a must-read chat with Gary Groth about our classic strip reprints: "The only criterion is that it’s great cartooning. We wouldn’t waste our time devoting this much time and energy to anything less. Our mission has been to publish the best cartooning — not only in comic strips, but in every 'branch' of the cartooning art — that we can."
• Interview: At Robot 6, Chris Mautner talks to Wilfred Santiago about 21: The Story of Roberto Clemente: "I was trying not to make it … biographies to me have a static feel to them. I was trying to avoid [that] and I feel like cartooning helps you in expressing the story and what you’re trying to convey thtorugh the story. It was difficult too because I wanted it to be cartoony and realistic at the same time. I wanted it to be fun. What’s important was that it was exciting; that it could almost speak. That you could read the book in a very sort of sharp-paced way but you could also take the time and read through it at your leisure."
• Interview: Matthew Baker of Vanderbilt University's Nashville Review has an epic chat with Anders Nilsen: "Really I feel like comics is just the most useful category to drop me into. I don’t feel like I’m wedded to comics as a medium. I draw, and I usually sort of tell stories, but I do make standalone drawings and paintings, and I do make stuff that is probably closer to poetry than comics. I’ve made books before that aren’t really comics — just a series of pictures, or diagrams, or whatever."
• Review: "Stunning and evocative and rendered in a cacophony of swirling miasmic lines, this fearsome modern parable is a fierce interrogation of faith and destiny which asks uncompromising and uncomfortable questions about the price of Grace and the value of belief. [...] Emotive, shocking and utterly compelling, Stigmata is a grotesque and beautiful metaphysical rollercoaster with existential angst and blind faith gripping each other’s philosophical throats and squeezing really hard. No rational reader or mature comics fan can afford to miss this dark shining delight." – Win Wiacek, Now Read This!
• Review: "This book beautifully captures the phantasmagoric flow of images that occurs in dreams. Mattotti's art is incredible. There are panels that are so intricate that I wonder how he had the time to draw so many of them. At 32 mostly wordless pages it's a very short book, but the imagery, like the panels of a child throwing a toy at a giant, or the panels showing a huge black bird carrying off a rabbit in a rainstorm, will stay with you long after you finish reading. If you like the intense, emotional, sometimes dreamlike artwork Mattotti did for Stigmata, you will love Chimera." – Jon Anderson, The Beguiling
[Editor/Marketeer's Note: You can get Chimera for half price when you order Stigmata!]
Here are some great photos of Robert Crumb at the opening of R. Crumb: Lines Drawn On Paper at the Society of Illustrators in NYC last Friday (March 25). The top two are by Rob Sussman; the bottom one, with Bob in a saucy pose with SOI director Anelle Miller, is by Jordin Isip; all were provided by Drew Friedman (thanks Drew!).
• Review: "Fantagraphics' collection Four Color Fear: Forgotten Horror Comics of the 1950s, edited by Greg Sadowski, is a wonderfully creepy hurtle through the exuberant, cheerfully gross and icky horror comics that prevailed in the golden, pre-Comics-Code era. ...[T]he art is brilliant: indistinct piles of slimy viscera, purple-green zombies, skull-faced vampires and demons, Satan in a dozen guises, witches and occult symbols, creatures from the eleven hells of the darkest mythos of the human spirit." – Cory Doctorow, Boing Boing
• Review: "Considering how much I enjoyed the first four years, when Foster was still finding the strip’s voice, I wasn’t sure how much better Valiant could get. Turns out, Prince Valiant achieves sheer radiance. [...] In short, Prince Valiant is noble romantic adventure fiction at its finest. The plots are classical, yet surprising, with chivalry and fair play constantly at the forefront. Poetic and strikingly descriptive, the narrations could nearly stand alone, but fortunately are accompanied by some of the finest comics art ever produced. [...] Prince Valiant v. 3: 1941-1942 finds a legendary strip reaching yet greater heights of creative accomplishment, presenting the strips with the full majesty of size, color and detail that its author always hoped for. After Foster, comics were never the same; this series is, simply, a must-have for any serious comics library." – Michael C. Lorah, Newsarama
• Review: "Excoriating, withering humour and viciously necessary satire tellingly rendered and savage yet personable and winningly intimate reportage make [Twilight of the Assholes] one of the best cartoon coshes ever applied to the politics of this century." – Win Wiacek, Now Read This!
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