• Review: "Sala’s new book, The Hidden, does not wholly depart from the campy fascination with the morbid that marks his previous work, but is even darker in tone, despite the vibrant watercolor work. The visual markers of Sala’s humor are present — the affected font, the twisted faces — but there is arguably something more serious and disturbing at play here." – Jenna Brager, Los Angeles Review of Books
• Reviews (Video): "This week on the Comics-and-More Podcast, Patrick Markfort and I discuss Richard Sala's work, including his Peculia books and his new graphic novel The Hidden, perfect books to read for Halloween." So says co-host Dave Ferraro — watch the multi-part video at the link
• Review: "EC is often at the center of the story [of Pre-Code horror comics]... Four Color Fear strives to provide an accessible sampler of everything else. Editor Greg Sadowski is adept at such missions.... Sadowski keeps endnotes, often heavy with hard publication facts and extensive quotes from artists and observers, in the back of the book in order to structurally foreground the sensual, aesthetic experience of reading old comics." – Joe McCulloch, Los Angeles Review of Books
• Review: "Thirty years after the debut of their Love and Rockets series, the Hernandez Brothers continue to impress readers with their incredible Love and Rockets: New Stories #4.... More than ever, Jaime demonstrates a mastery of line and pacing, making for emotional realism that is rarely matched in the world of comics.... As for Gilbert, he presents readers with the captivating 'King Vampire,' a story which revolves around killer vampires.... The result is a gripping tale filled with plot twists, violence, and absolutely gorgeous art.... With Love and Rockets: New Stories #4, the Hernandez Brothers establish once more their immeasurable contribution to the world of comics. Instead of producing works that are stale and predictable, the duo is creating comics that are as imaginative and fresh as ever." – Jason Grimmer, 211 Bernard (Librairie Drawn & Quarterly)
• Review: "David B. is one of the most important cartoonists in France. A member of L'Association, his most important work is Epileptic... But I will confess that I like the stories in The Armed Garden more. These are stories about heretics. Heresy is a subject of particular interest for certain storytellers -- for example, Jorge Luis Borges.... These bizarre fable-like tales may seem far from us, but they show want can happen when societies are stressed." – Robert Boyd, The Great God Pan Is Dead
• Review: "The stories [in The Man Who Grew His Beard] are funny, ironic and absurd. In that, he reminds me of his fellow Belgian cartoonists, Kamagurka and Herr Seele. But he also reminds one of the avant garde Belgian cartoonists of Freon (later Fremok). These are more 'art comics,' where the visual aspect is paramount. This is not to say the narratives are unimportant, mere hangers onto which to hang the art. They are amusing, weird and compelling -- the visual aspect makes them all the more so." – Robert Boyd, The Great God Pan Is Dead
• Review: "Told with great confidence and uncomfortable frankness across a sprawling 450 pages, [Today Is the Last Day of the Rest of Your Life] is a coming-of-age narrative that inevitably places itself in the tradition of German travel literature, perhaps unwittingly joining the company of such august figures as Goethe and Hesse.... Despite its trauma, the journey ends up being one of liberation. Though its description of the risks inherent to the only semi-aware need for independence characteristic of youth is sobering, the book is never judgmental. There is a distinct undertone of empowerment to this story of one woman’s instinctive search for enlightenment. It is a grand tour." – Matthias Wivel, The Metabunker (Look for our edition of this book in Summer/Fall 2012.)
• Commentary: "Long gone publisher St. John's line of romance comics has a chronicler in the person of John Benson. He edited [Romance Without Tears] from Fantagraphics in 2003. He argues that this line was superior to just about everybody else's line of romance comics and he is good at peopling his argument, particularly in a second book [Confessions, Romances, Secrets and Temptations] he put together in 2007." – Eddie Campbell
• Plug: "Two — count ’em — two books fold into one in Everything Is an Afterthought. First, we get a heartbreaking biography of the late, great rock critic Paul Nelson. Then, to prove the greatness part, the author of the first section (Kevin Avery) compiles Nelson’s most incisive hits." – Jim Farber, New York Daily News
• Plug: On Librairie Drawn & Quarterly's 211 Bernard blog, Jason Grimmer runs down some highlights from Mark Twain's Autobiography 1910-2010 by Michael Kupperman, saying "Come on, that's a helluva CV know matter how you slice it. The least you could do is read about it."
3:15-4:15 PM // Preservation and Presentation: The Art and Business of Comics Publishing: Join our fearless leader Gary Groth in panel with Peggy Burns (Drawn and Quarterly) and Craig Yoe (YOE! Books). [ University Capitol Centre 2520D ]
7:30 PM // Joe Sacco: Keynote Lecture and UI Lecture Committee Featured Speaker [ Shambaugh Auditorium ]
1:30-3:30 PM // Editing Comics Criticism and Scholarship: This round table discussion features Gary Groth, along with John Lent (Editor, The International Journal of Comic Art) and Frenchy Lunning (Editor, Mechademia) [ University Capitol Centre 2520D ]
7:30 PM // Gilbert & Jaime Hernandez: Keynote Lecture and UI Lecture Committee Featured Speaker [ Shambaugh Auditorium ]
You can view the entire schedule of events at the University of Iowa website. If you read this FLOG and live in Iowa, you better be there!
The new Diamond Previews catalog is out today and in it you'll find our usual 2-page spread (download the PDF) with our releases scheduled to arrive in your local comic shop in December 2011 (give or take — some release dates may have changed since the issue went to press) and a selection of gift book suggestions. We're pleased to offer additional and updated information about these upcoming releases here on our website, to help shops and customers alike make more informed ordering decisions.
• Review: "This is hugely imaginative, exultantly silly, gag-a-minute writing that manages to comment on the popular culture of the last century while willfully wallowing in it — Python with a wry dose of Pynchon.... Were you, dear reader, to ask me if the brevity of [Mark Twain's Autobiography 1910-2010]'s chronologically arranged but narratively stand-alone chapters made it an ideal book for bathroom reading, I would call you a coarse, disgusting pig-person, demand that you leave my office, and wipe down the chair you'd been sitting in. ... But, yes." – Glen Weldon, NPR Monkey See
• Interview:SF Weekly's Casey Burchby, who says "Drawing inspiration from Mad among other influences, Kupperman's brand of humor is punchy and ridiculous... Like the best satire, it reflects a vision of our world that is simultaneously accurate and abstracted. Kupperman's new book, Mark Twain's Autobiography 1910 - 2010, comes from the same comedic source," talks to Michael Kupperman: "Some of my comedic influences are deliberately funny, others are not. The unwittingly bad, the pompously ineffectual, the flimsily maudlin -- these are all genres I warm to. The Sunday comics page on 9/11 this year was a good example. Like it does anyone any good to see Hagar and Momma weeping."
• Review: "I literally dropped everything to read this thing.... Volume three in Ryan’s madcap ultra-violent combat comic [Prison Pit] is firmly in the vein, so to speak, of the first installment: No-holds-barred body-horror battle between monster-men who look like refugees from an alternate-universe He-Man whose house artist was Pushead instead of Earl Norem.... It is... a series fixated not just on surviving the present moment on a narrative level, but on drawing that moment out to ludicrous lengths on a visual level. Its action is defined by page after page of grotesque bodily transformations depicted beat by gruesome beat.... The introduction of the 'arch enemy' is a tantalizing link to the past for a story that draws so much of its power from living (and dying) in the now." – Sean T. Collins, The Comics Journal
• Review: "Everything Is an Afterthought presents a vision of the heyday of rock journalism, times that have long past.... The story Kevin Avery tells is of someone who believed passionately in the art that moved him... Few of the artists profiled in the selected works do much for me — late ‘70s Rod Stewart, Jackson Browne, [Warren] Zevon — but Nelson writes about each with such care and insight that I went back to listen to all of them again." – Alex Rawls, Offbeat
• Review: "Oddly enough, the title, its font and also the cover art of The Man Who Grew His Beard made me think of the 1985 book The Man Who Mistook His Wife for a Hat by neurologist Oliver Sacks describing the case histories of some of his patients, which given the completely insane collection of shorts in this book, both in terms of the stories and art, may not be entirely coincidental, I suspect. If surreal, single-panel humorist David Shrigley were ever to do comics, this is exactly what they would be like, to the point that I had to do a quick google search to check Olivier Schrauwen wasn’t a nom de plume for Mr. Shrigley. He isn’t." – Jonathan Rigby, Page 45
• List:Comics Bulletin includes Palomar by Gilbert Hernandez among their "Top Ten Comics to Share with Your Boyfriend and/or Girlfriend": "Palomar is really defined by its characterization, with the town's mayor Luba and her family often acting as the center. The stories set in Palomar are a large part of why Love & Rockets became such an important work as they showed how the scope of novels could be applied to the medium."
• Profile: At Trouble with Comics, Alan David Doane details his appreciation of the work of Bernard Krigstein, noting: "A few years ago, Fantagraphics Books released B. Krigstein: Volume One by Greg Sadowski. This oversized hardcover artbook/biography is one of the finest of its kind ever released, and although Krigstein’s story is largely one of restriction and boundaries, it should be noted that B. Krigstein Vol. 1 is not a depressing book. Its author was meticulous in his creation of a lasting, vital document of the subject, a man who took life and art very seriously and suffered greatly for both. The book is, in fact, a celebration of the life and work of Bernard Krigstein, and even if you think you know who that is, I guarantee you that by the time you get to the end of the book, you’re going to know the man and his work one hell of a lot better."
• Plugs: Martha Cornog of Library Journal spotlights some of our upcoming releases in the latest "Graphic Novels Prepub Alert":
The Life and Death of Fritz the Cat by Robert Crumb: "Crumb's infamous and ever-horny Fritz has been reprinted before, but not recently and never in hardcover.... An underground classic, with touches of critical brilliance amid its college-kid-wannabe plots."
The Crumb Compendium by Carl Richter: "Mr. Natural turns 45 next year, as many years as his creator Robert Crumb has been publishing. Fantagraphics is billing this compendium as the 'definitive reference guide' to Crumb's oeuvre, covering published comics plus other artwork, merchandise, articles and interviews, characters, and photographs. Richter is a Crumb collector who served as consultant to Fantagraphics on The Complete Crumb Comics set, and Crumb himself helped out. Hey, guys, keep on truckin'!"
Young Romance: The Best of Simon & Kirby's 1940s-'50s Romance Comics by Joe Simon & Jack Kirby, ed. by Michel Gagné: "The guys who created Captain America also jump-started romance comics with several vanguard series. Top selling until the Comics Code clashed with '60s permissiveness, the genre captured feminine readers even if plots and characters tended to push patriarchal sex roles and a Stepford Wives take on coupledom."
And there appears to be a new (I think) installment of "Crumb on Others" where the man holds forth his candid opinions on various prominent figures in comics and popular culture, from his underground contemporaries to Charles Schulz, from Walt Disney to Walt Kelly, from The Beatles to Bettie Page. Must read!
• Profile: At GALO Magazine, Emily Crawford Misztal talks to Nate Neal and looks at his debut graphic novel The Sanctuary: "While the language and the ways of the characters in the book will be unfamiliar to readers, the motives that drive them are as old and familiar as the sun. Neal sees the ancient setting as a way to get at the core of what it means to be human—in any era. 'It is a chance for me to examine human behavior on a more universal level,' Neal said. 'Sex, power, revenge, the primal stuff, is underneath everything that we do. There’s more covering over what we do now. With the cavemen, I can strip everything away and get right down to it.'"
• Feature: Rob Lammle of mental_floss posts an entertaining list of "10 Peanuts Characters You've Probaby Forgotten" — devotees of our The Complete Peanuts series will be familiar with some of them, and some of them give hints as to what to expect in future volumes!
• Analysis: At Taking Its Time, Jeff Hayes writes on the use of Jacques Tardi's It Was the War of the Trenches in an academic setting, specifically the high school English classroom: "In using a text like It Was the War of the Trenches, democratic education is being practiced. It is not just because of how the book is constructed visually; we must look at it also as an artifact of importance in presenting how another culture views historical events-how those events may or may not have affected the lives of others we do not think of in the rush of war and the aftermaths that follow as we choose what is important in history and what is not."
• Review: "The harmony of words and illustration strengthen Kelso’s voice as a narrator of stories that appeal to women of all ages.... This collection of short stories is a fantastic starting point for those of you who still view comics as Marvel/DC, or as ‘kiddie’ entertainment. (Shame!!) While playing with fantasy elements we all loved reading as little kids, Kelso incorporates today’s real life issues — STDs, pregnancy, being broke, infidelity — into her comics. Raw, yet refined, Queen of the Black Black is an enjoyable, meaty read that left me pumped to experiment with my own comics style." – Erina Davidson, Bust
• Review: "The book itself is stunning.... Fantagraphics is well-known for their quality book projects and this may be one of their best yet.... The Mickey Mouse strip itself is a hoot — especially in these early days. Mickey’s a feisty little guy in the strips, more so than in most of his animated appearances. He frequently packs heat (gasp!), knows all kinds of dirty tricks, and isn’t afraid to get into some real fisticuffs.... Even if you don’t care much for Mickey or the whole Disney mouse machine, this book should be on your bookshelf just for the slice of 1930s Depression-era Americana and the amazing joy of Mickey’s flinty 'can-do' attitude.... Watch for this wonderful series to do very well in various comics awards next year. This is important stuff." – K.C. Carlson, Comics Worth Reading
• Review: "There's still an agreeable edge to the series at this point [The Complete Peanuts 1979-1980] — Peppermint Patty's resigned acceptance to a life of D-minuses is really kind of savage — but Charles Schulz was relaxed enough to enjoy a few in-jokes and celebrity shout-outs to the likes of Bill Mauldin and various tennis stars.... Each time that Schulz started one of his longer, weirder stories..., readers will find themselves wondering how in the world he resolved it. He succeeded every single time." – Grant Goggans, The Hipster Dad's Bookshelf (via Spurge)
• Review: "Like crisps, chocolate and bad puns; once you get the taste of Robert Crumb on your palate, it’s almost impossible to shift the craving for more. Here’s another re-released edition [Vol. 13] from the superb and multi-award winning Complete Crumb Comics series that will tickle the bad-taste-buds of discerning comics cognoscenti and is bound to make a whole new generation of fans among the cool kids..." – Win Wiacek, Now Read This!
• Scene/Plug:Comic Book Resources' Sonia Harris shares a charming Hernandez Bros. anecdote from Comic-Con and plugs the new Love and Rockets: "I won’t spoil it for you, but I can tell you that it is even better than the 3 that have come before it (and they were fantastic.) Seriously, Love and Rockets is just getting better and better."
• List:The Hooded Utilitarian, continuing to roll out the top 10 results in their International Best Comics Poll, reveals the Locas stories of Jaime Hernandez at #7, with an appreciation by Derik Badman
• Review: "I am seriously finding it difficult, if not impossible, to review [Love and Rockets: New Stories #4] without simply hitting the bullets-and-numbering button and whipping up a list of everything in it that amazed me. It would be a long list, too.... The fact of the matter is that while reading this book I discovered that I’m at least as attached to Ray Dominguez and Fritz Martinez, the protagonists of Jaime and Gilbert’s contributions respectively, as I am to a decent number of real people in my life. ...[I]n the end, how it looks pales in insignificance next to what happens, because making it look that good is a means to the end of imparting just how much what happens matters. Ray’s shirt and Fritz’s legs, the shadow of the vampire and the structure of the montage — they’re just landmarks to remind you where you were when you found out if Ray and Fritz and Maggie were going to get happy endings, or not. It’s the easiest thing in the world to understand, and it’s the hardest thing in the world to do, and it’s magic, pure magic, to do it this well." – Sean T. Collins, Attentiondeficitdisorderly
• Review: "Maybe it seems as if I’ve told you the whole story [of Congress of the Animals] already. Not to worry, as I am only giving a basic outline of what Jim Woodring has rendered (without a single word!) in inspirationally meticulous ink drawings. You’ll really have no idea of this book’s content until you pick it up and view sights that are organically bizarre, beautifully horrific, cryptically disturbing, and genuinely heartwarming." – Chris Gray, San Mateo County Library blog
• Review: "Crumb’s subtle mastery of his art-form and obsessive need to reveal his most hidden depths and every perceived defect — in himself and the world around him — has always been a unquenchable wellspring of challenging comedy and riotous rumination. This superb series [The Complete Crumb Comics] charting the perplexing pen-and-ink pilgrim’s progress is the perfect vehicle to introduce any (definitively over 18) newcomers of your acquaintance to the world of grown up comics. And if you need a way in yourself, snatch up this book [Vol. 15] and the other sixteen as soon as conceivably possible." – Win Wiacek, Now Read This!
Fantagraphics Books President and Co-Publisher Gary Groth announced today at Comic-Con International that the Seattle-based publisher has entered into an agreement to publish The Complete ZAP Comix in Fall of 2012.
ZAP remains the best-known and most influential underground comic of all-time, and in many ways is Ground Zero for the entire field of underground, alternative, literary and art comics that exists today. Created by Robert Crumb, it was one of the defining events in the counterculture of the 1960s and singlehandedly launched the “underground comix” era.
“ZAP took comics from children to adults, crushing The Comics Code Authority in the process,” proclaimed ZAP artist Victor Moscoso.
The Complete ZAP Comix will be published as a two-volume, slipcased hardcover set, printed slightly larger than the original comics, and shot from the original negatives to the comic books, ensuring the finest reproduction ever seen of the material. It will also include the rarely-seen ZAM, a one-shot mini-comic/jam spinoff of ZAP from 1974, as well as other supplementary features, interviews with the artists, and other surprises.
“ZAP may be the most significant series in the history of American comics,” said Fantagraphics President and Co-Publisher Gary Groth. “Its cultural preeminence is the result of artistic merit, not collectibility or economics and that sets it apart from most comics series that have achieved this level of public awareness or notoriety. The artists that Crumb invited into ZAP each proved to be a stylistic virtuoso with a unique point of view and an uncompromising vision. ZAP was the vanguard of a movement that segued into the alternative comics of the ’80s and the graphic novels of the ’00s. We couldn’t be prouder to collect this landmark series in its entirety in a beautifully packaged two-volume set.”
Originally printed by Beat writer Charles Plymell in an edition of around 3,500 copies, ZAP #1 was the first title published by the late Don Donahue under the Apex Novelties imprint, and was infamously sold on the streets of Haight-Ashbury out of a baby stroller pushed by Crumb’s ex-wife, Dana. Over time, the series’ 16 issues have sold millions of copies.
Although R. Crumb had initially created ZAP as a showcase for his own work, the success of the first issue led him to open up the pages of subsequent issues to several other artists. He invited his peers S. Clay Wilson, Robert Williams, “Spain” Rodriguez, Gilbert Shelton, Victor Moscoso and Rick Griffin to join him, effectively creating an artists’ collective that has remained mostly constant in the subsequent decades; when Rick Griffin died in 1991, the artist Paul Mavrides was invited to join the group.
“Fantagraphics’ The Complete ZAP Comix, as designed by Victor Moscoso, will be a classy item for the bookshelves of underground comics fans — those who can afford it, that is,” said ZAP artist Gilbert Shelton. “I imagine most of the original readers wish they still had their copy of the first edition of ZAP #1, which sells for over ten thousand dollars now, if in perfect condition. But part of the secret of the success of underground comix was that they were cheaply produced and turned yellow and fell apart quickly, and also that they were borrowed and never returned by one’s friends, thereby forcing you to buy another copy. This will not happen with the new collected edition, which will be produced under the most rigorous of quality control.”
“Much as the effect EC’s MAD had on the mid-20th Century, ZAP was equally influential and disruptive to cultural mores at the end of the 20th Century, but without the hindrance of the old comic book code that cramped graphic novel expression for 40 years,” said ZAP artist Robert Williams. “I’m very pleased that Fantagraphics will release this long-awaited compendium of ZAP Comix.”
“When Robert Crumb started ZAP in 1968, no one had any idea that it would still be alive 45 years later,” Shelton added. “This exercise in anarchy — there were never any rules, restrictions, or editorial policy — is still the flagship of the underground comics movement. I tried, and failed, to get my fellow ZAPsters to correct their spelling errors, but they would not be subjected to such editorial tyranny. I also wanted to let other artists into the group, but it was decided to restrict the number of contributors to seven. So be it. Spell free or die, I now say.”
Fantagraphics will be publishing the The Complete ZAP Comix in Fall of 2012.
The Complete ZAP Comix By: R. Crumb, S. Clay Wilson, Robert Williams, Spain Rodriguez, Gilbert Shelton, Victor Moscoso, Rick Griffin, & Paul Mavrides Release Date: Fall 2012 Page Count: 800 PP Black & White • Two-Volume, Slipcased Hardcover Set
• Review: "...[L]ike the best coming-of-age stories — comics or otherwise —Wandering Son is meticulously accurate in its details, but universal in its emotions. Gay or not, readers shouldn’t find it too difficult to identify with kids who feel like their bodies and their friends are equally culpable in the worst kind of betrayal, preventing them from realizing the potential they see in themselves." – Noel Murray, The A.V. Club
• Review: "The tone of each book is very different, with the Gil Jordan collection favoring clever mysteries, narrow escapes, and broad comic relief, while the Sibyl-Anne book is subtler, dissecting the way miniature societies work, together and in opposition. Both are excellent, though, showing off the strengths of the Eurocomics tradition, with its sprawling narratives spread across small panels, mixing cartoony characters and elaborate backgrounds." – Noel Murray, The A.V. Club
• Review: "Reminiscent of the classic Michael Winner-helmed and Charles Bronson-starred The Mechanic, Tardi's follow up to his acclaimed adaptation of a Manchette crime novel West Coast Blues, Like a Sniper Lining Up His Shot... delivers a superior sequential thriller. Violent, sexy, and littered with enough shocks to excite the most hardened crime fiction fan, Tardi once again produces one of the finest examples of the genre." – Rick Klaw, The SF Site: Nexus Graphica
• Review: "McKean has long been established as a master of multimedia imagery and Celluloid represents possibly his finest work. The clarity and seamlessness with which he combines photography with drawings and paintings makes every scene entirely convincing. It’s this hyper-reality that encourages us to submit to the dream-logic of the story." – Gavin Lees, Graphic Eye
• Review: "[Celluloid] is a story of sexual growth and empowerment. ...McKean's artwork gains greater dimensionality as his central character grows more assertive.... The pace of the story is left up to the reader, but McKean has created such lush visuals that many will want to linger and examine the intricacies of the imagery presented....Many of the pages are so well crafted in their surrealistic imagery that they could easily hang beside Picasso. McKean has boldly stepped away from the confines of mainstream comic books with this endeavor, and the result is a masterpiece of eroticism that relies heavily on intellect and emotion, rather than just mere arousal or titillation." – Michael Hicks, Graphic Novel Reporter
• Review: "If Siamese Dream-era Smashing Pumpkins exploded inside a Victorian tea shop, it would look something like [Meat Cake]... The humour is perverse, like an alt-universe Kate Bush who grew up reading penny dreadfuls instead of Brontë, the drawings are obsessively crammed with fever-dream detail, and the author has the advantage of being able to make publicity appearances dressed as her own characters, which is not something most cartoonists should attempt." – Grant Buist, The Name of This Cartoon is Brunswick
• Profile: Rosalie Higson of The Australian talks to Robert Crumb in anticipation of his visit to Sydney next month for the GRAPHIC festival: "There's a unique timing and way of telling a story with comic panels, different to writing novels or a film script. And there are seasons in the life of any artist. Crumb has dropped all his ongoing characters. 'I'm sick of them all. I'm very critical of my own work, when I look back on it I'm not especially proud, I wasn't really serious enough about it. I'm not sure what it all means for posterity, I have no idea. You can be the world's most favourite artist, and be totally forgotten a few years later,' he says."
• Interview:At Print magazine's Imprint blog, Michael Dooley chats with Trina Robbins. Dooley: "Trina's 2009 The Brinkley Girls: The Best of Nell Brinkley's Cartoons from 1913-1940 is a stunning collection as well as a detailed pictorial chronicle of the evolution of fashion and style, from Nouveau to Deco." Robbins: "I love clothes. I love lipstick. I love glamor. And obviously, so have many other women, if you look at the large readership of artists like Nell Brinkley and Brenda Starr's Dale Messick. And in the case of younger readers, at all the girls who loved Katy Keene. There probably are still some women who might want to see me, if not guillotined, then at least sent off to a gulag for promoting such work."