• Plug: At NPR's Monkey See, Glen Weldon recommends Pogo Vol. 1 as a "tryptophan-tastic tome" for your turkey-coma reading enjoyment: "Walt Kelly's seminal, satirical, exquisitely rendered, hugely influential (and, not for nothing, actually funny)comic strip is getting a deluxe treatment by Fantagraphics. Crisply reproduced at a generous size that makes it easier than ever to marvel over Kelly's marvelous linework, this book is everything fans and comics historians were hoping for."
• Review: "...[Tales Designed to] Thrizzle returns to form with lucky number seven — and of all things, it seems like Christopher Nolan’s Inception provided the catalyst.... I’ve described director Christopher Nolan’s movies as what stupid people think smart movies look like; Michael Kupperman’s comics are the opposite, stupid comics made by a smart person for smart people, so perhaps there’s some yin-yang resonance there. Regardless, Kupperman recognized Inception‘s Russian-nesting-doll structure of dreams within dreams within dreams as natural connective tissue for his stream-of-consciousness comedy... It’s nice to hold documentary evidence of Kupperman’s comic genius in my hands again." – Sean T. Collins, The Comics Journal
• Review: "The authors [of Oil and Water] show admirable self-awareness in portraying their semifictional companions (and by implication, themselves) as naive voyeurs whose presence mostly irritates their subjects. 'Lemme get this straight,' says one character. 'They white. We black. They blue. We red. They rich…and I got $53 to buy a week’s worth of groceries. And they gonna tell our stories?' Actually, they do a fine job." – Ruth Brown, Willamette Week
• Review: "Full of endnotes, translating many phrases he quotes in their original languages, and graced by a few of the couple’s photos and Sarah’s plein air oil paintings, [Estonia: A Ramble Through the Periphery] provides a suitably quirky introduction to Theroux as an essayist and critic.... As the author of two Fantagraphics short studies on Al Capp and Edward Gorey, Theroux’s elliptical style and elongated perspective delineates an American tradition of satire that connects him to Thomas Nast’s political and cultural caricatures of a century and a half ago.... Catch the wit and the venom, the depth and the breadth, of this honest account of 'a strange, unlooked-for place at the back of beyond' where 'the fascination of its strangeness' renders it a fitting subject for a curious report by a memorably talented, ever off-kilter, chronicler of oddity. [Rating] 8/10" – John L. Murphy, PopMatters
• Plugs: Our FBI•MINIs have garnered attention from Tom Spurgeon at The Comics Reporter ("I want as many as I can get my hands on"), J.K. Parkin at Robot 6 ("The big chain stores might have cheap TVs this weekend, but how many of them come with a Tony Millionaire mini-comic? Not nearly enough, I tell ya"), Alan Gardner at The Daily Cartoonist ("If you're already planning on picking out some titles for the holidays, might as well get the rare or unpublished work as well"), Paul Constant at The Stranger ("These books are a great idea; a special gift for your special comics fan")
• Interview: "I talked on the phone with Adam Witt of Comics Will Break Your Heart about the early days of the Mome anthology, serializing work, collaboration with other artists, film, and my inability to remember the dates of anything. I apologize in advance for the mumbling bits," says Paul Hornschemeier on his blog
• Analysis: At Robot 6, Matt Seneca examines the sequential imagery in a poster by Victor Moscoso: "The poster Moscoso created for SF-based motion picture company Pablo Ferro Films... is a watershed moment in the artist’s oeuvre, the place where his works in comics and posters unify with perfect elegance. It’s also a fascinating, formally audacious piece of comics, one that breaks rules and innovates furiously without giving up an iota of visual beauty."
• Review: "Rick Marschall and Warren Bernard’s Drawing Power is a provocative visual examination of the wonderful world of cartoon advertising.... Marschall and Bernard have mixed an unusual batch of artistic and economic history. After reading this book, you’ll never look at comic strips and capitalism the same way again." – Michael Taube, The Washington Post
• Review: "It's a little silly for me to do the full-disclosure tap dance... I'm quoted ten times in Kevin Avery's Paul Nelson biography-collection-tribute, Everything Is an Afterthought, and thanked prominently in the acknowledgments.... [The book is] better than you might figure.... With Nelson, the wild card was Avery, an unknown from Utah whose national track record starts here. But he's done inspired, diligent work. Constructed from a greater proportion of direct quotes than is normally deemed proper, the biography is doubly gripping as a result... And though the critical analyses that triggered this admiration shone less brightly than I'd hoped, the narrative writing I'd put less stock in compensated." – Robert Christgau, The Barnes & Noble Review
• Review: "Over the past decade, probably the single biggest frustration we've experienced here at The Copacetic Comics Company was the inability to offer customers the opportunity to experience the magic of Carl Barks in book form.... The influence on American culture of the Disney duck comic books Carl Barks wrote, penciled, inked and lettered for roughly a quarter century is incalculably large.... Carl Barks is one of the true titans of comic books, one of the very few who can hold their own with the likes of Jack Kirby, Will Eisner, Harvey Kurtzman and R. Crumb. His fluid cartooning and storytelling is simply unmatched.... Now, at last, ...his collected works will once again become available for North American readers... in what — based on the evidence of the first volume — is sure to be the most outstanding edition ever produced.... The Fantagraphics edition of The Carl Barks Library is ideal in almost every way and is sure to be the definitive edition of the works of this great comics master." – Bill Boichel (we presume), The Copacetic Comics Company
• Interview:Comics Bulletin's Jason Sacks sat down for a chat with Bill Schelly about chronicling the life and art of Joe Kubert: "Think of the effect he's had. It's like an amplifier. He's used amplification through all his students. His philosophy about good storytelling techniques, solid drawing fundamentals and all those things he's imbued in all those students who go out to every field of artistic endeavor and, in fact, internationally. So his effect is really international."
• Plugs: "Just in time for Christmas, Fantagraphics has published the first volumes of two archival comics series that promise to be amazing.... Carl Barks’s Donald Duck: Lost in the Andes — is a beautiful, 240-page, full-color collection... If you’ve got kids, it’s a terrific introduction to Barks’s DD mythos.... Walt Kelly’s Pogo was one of the great hilobrow comic strips of all time.... Go, Fantagraphics, go!" – HiLobrow
• Astrology: We totally almost missed that VICE talked to Dame Darcy about The Day of Elevens.
• Review: "Barks, the artist, is a master cartoonist, drawing lively, expressive characters with a graceful sense of movement. His beautiful, detailed backgrounds plant the ducks in a fully realized world that adds weight to his storytelling.... But besides the entertaining plots, Barks’ appeal is in his characters. He gives his ducks many human frailties and while they usually try to do the right thing, they make mistakes, get angry, frustrated, and even fail. Fantagraphics Books... does its usual high quality work here as well. The design and layout of the book is a handy comic-book size hardcover with bright, colorful reproductions of the comics. Besides the comics, there are articles on Barks and analysis on each story... For both newcomers to Barks' work and diehard fans, [Walt Disney's Donald Duck: Lost in the Andes] is a book that any comic book reader would love to find under the Christmas tree." – Rich Clabaugh, The Christian Science Monitor
• Interview: At The Comics Reporter, Tom Spurgeon talks with Rich Tommaso about his coloring work on our Carl Barks Library series — "[Disney] said we didn't have to be so religious about it. They wanted to make sure the color for the ducks, the reds and blues and the yellows, that those were pretty much bang-on. But they agreed that there was a little bit of leeway. If something looked like a bad color choice, you could find something in the ballpark range of that color. So that's what I would do." — and about his own comics work
• Review: "All aspects of Kubert's career are touched on in this tome, which is loaded with beautiful colour reproductions of its subject's artwork and complemented by a lengthy and insightful critical commentary by comic book historian Bill Schelly. Over the course of the book's 224 pages, you can see quite clearly how Kubert's art evolved and how his storytelling skills developed, but also how his unique style, those striking touch and sinewy images that could have been rendered by no one else, has remained intact. As with Fantagraphics' previous coffee table comic art books, The Art of Joe Kubert makes you want to see more — all! — of the artist's work." – Miles Fielder, The List
• Review: "Frank Zappa once said 'most rock journalism is people who can’t write, interviewing people who can’t talk, for people who can’t read.' However true that might be, Paul Nelson was one who most definitely could write. And he interviewed people who could talk, and plenty of people read what he wrote. Kevin Avery certainly read what Nelson wrote, and has now written Everything Is an Afterthought, which is both a biography of Nelson and a collection of his work, including some pieces that have never been published.... Like the best critics, Nelson was primarily a fan of what he wrote about, subjects that struck a chord with him. And here’s a bio and a collection of his work written by a fan of his." – Robert O'Connor, Spike Magazine
• Plug: Proud contributor to our first Walt Kelly Pogo volume Mark Evanier talks up the book on his blog: "It's a wonderful book and though I am a Consulting Editor — I think that's my title — I can rave about it because I deserve very little credit for its wonderfulness. Any book that properly presents the work of Mr. Kelly is going to be, by definition, wonderful...and Carolyn Kelly (daughter of Walt, companion of mine) and Fantagraphics Books made sure it was properly presented."
Plug: "...Michael Kupperman's new book [Mark Twain's Autobiography 1910-2010]... has everything a boy could want, including Mark Twain on the track of the elusive yeti!... Albert Einstein is a major supporting player in the book (he and Twain open a detective agency, natch) and somehow it behooves me to remind everyone that in real life for really real, Einstein's granddaughter married a renowned bigfoot hunter. That is a fact you can look up on your computer!" – Jack Pendarvis
• Interview:Robot 6's Tim O'Shea talks with Shannon Wheeler, with a couple of revealing behind-the-scenes tidbits about Oil and Water in the second half: "Steve [Duin] understands a scene really well. When all the characters visited the bird cleaning facility there was a large storytelling arc with multiple subplots. I would have been afraid to juggle so many elements. I would have focused on the single note of the horror of the facility. Steve isn’t afraid to trust the reader to understand. I’m a lot less trusting of the reader. Steve showed me how to have more faith in the narrative."
• Scene: At Examiner.com, Christian Lipski reports from the Oil and Water book release with Steve Duin, Shannon Wheeler, Mike Rosen and Tom Orzechowski at Bridge City Comics in Portland last Wednesday: "Wheeler described the give-and-take nature of his meetings with Duin, during which they would talk about the best way to illustrate the author's script. 'I'd push for certain things, and Steve would push back,' said the artist. 'Sometimes he'd want something more subtle and I'd think it would need to be more over-the-top, or the other way around. We had good discussions.'"
• Review: "With [Mark Twain's Autobiography 1910-2010] and the seventh issue of his Thrizzle series, Kupperman takes back the crown of Funniest Cartoonist Alive... Whatever direction he moves in, there is a consistent level of dizzying joy to be found in Kupperman’s work, a kind of humor that features dark and occasionally satirical edges but is mostly just a barrage of inspired wordplay, deadpan humor, and deceptively simple images." – Rob Clough, The Comics Journal
• Review: "...Barks truly was a master at the medium. We all have been hearing this for so long and for those who have not yet read any of his comics, this book [Walt Disney's Donald Duck: Lost in the Andes] and the rest of the upcoming series should put all those doubts to rest. Carl Barks used ducks to shine a light on the human condition and make jokes while also making commentary on us all. Despite these stories being published in 1948 and 1949, they truly stand the test of time. But what was truly amazing about his work was that it appeals to both children and adults. ★★★★★" – Nick Boisson, Comics Bulletin
• Review: "Happily, Woodring never tries to offer up his own explanations for what transpires in his stories [in The Frank Book]. The closest he gets is some vague, oblique hints in this collection's afterword, but -- like those occasions when David Lynch pretends to try to enlighten viewers about his similarly challenging movies -- Woodring's clues only lead to more questions." – Dave Wallace, Comics Bulletin
• Review: "The no-nonsense mademoiselle Blanc-Sec returns for another round or two of occult mentalism and monster-mash madness... Don’t expect it to make any sense, you clearly won’t if you read and loved Volume One of Adele’s extraordinary adventures as I did. Indeed much like, what seems an odd comparison on the face of it I’ll grant you, Umbrella Academy you just have to enjoy the ever mounting sense of the ridiculous jammed in page after page, which Tardi is an absolute master at." – Jonathan Rigby, Page 45
• Plug:Newsarama's Zack Smith chats with humorist John Hodgman [squee] about the current state of comics: "It’s funny – when I started writing about comics a few years ago, I discovered a lot of new things, one of them being the Glenn Ganges comics by Kevin Huizenga. I just love his work."
• Plug: Pamela Paul of The New York Times asks "Diary of a Wimpy Kid" creator Jeff Kinney about his favorite books from childhood: "...[T]he works that stood head and shoulders above the rest were Carl Barks’s ‘Donald Duck’ and ‘Uncle Scrooge’ comics from the 1940s through the 1960s. Mr. Barks wrote tales of high adventure generously peppered with moments of high comedy.... Classics such as ‘Lost in the Andes,’ ‘Only a Poor Man’ and ‘A Christmas for Shacktown’ left a deep impression on me. Mr. Barks taught me that comics could be high art, and I consider his work to be the best storytelling I’ve experienced in any form. ...Fantagraphics has announced that it is publishing the Barks collection in beautiful hardcover books that do great honor to the cartoonist and his stories, and I can’t wait to buy them for my kids. Proof that great storytelling endures from generation to generation."
• Review: "This volume [Walt Disney's Donald Duck: Lost in the Andes] reprints tales from December 1948 through August 1949, when Barks was in high feather as a creator of breathless adventures and light comedies for his Ducks... Great pop culture, great analysis. Scrooge is always searching for more gold, and there’s plenty here. [Rating] 10/10" – Michael Barrett, PopMatters
• Review: "The finale of the story Jaime has been telling over the past couple of annual issues [of Love and Rockets: New Stories] is a moment of bravura comics storytelling, but the buildup to it in the opening portions of this issue is pretty great as well... Ah, but as nice as these stories are, they all seem to be prelude to the dazzlingly virtuosic end of this chapter in the Locas saga... This could signal an end to the current era of Locas stories, but these characters are less figures of Jaime's imagination than real people alive in the minds of readers everywhere at this point, and even if another story featuring them never appears, we can rest assured that they will continue to live on, somewhere, sometime." – Matthew J. Brady, Warren Peace Sings the Blues
• Review (Audio): Introducing the latest episode of the Wait, What? podcast, co-host Jeff Lester says "we dollop more praise on Ganges #4 by Kevin Huizenga because honestly that sucker could probably use another five or six dollops."
• Plugs: "Fantagraphics’ collections featuring Charles Schulz’s comic strip masterpiece, Peanuts, are fantastic and if you’re a Peanuts fan, you need to be reading these. Floyd Gottfredson probably did as much to shape the personality of Mickey Mouse and his supporting cast as Carl Barks did for the Disney Ducks, yet his work has never received the same degree of attention as the work of Barks. Fantagraphics is correcting that with Walt Disney’s Mickey Mouse. The first two volumes of this series are fantastic and the strips probably look better here than they did when they were originally published. It’s a joy to watch Gottfredson develop as a storyteller as Mickey and the gang evolve along with him.... There’s also plenty of background material to place the stories into historical perspective. And the collection of Walt Kelly’s Pogo that hits stores this week is gorgeous. I have some of Fantagraphics’ previous Pogo volumes and this one blows them away. I’m also getting into Popeye for the first time with their collections of Segar’s classic strip." – Roger Ash, Westfield Comics Blog
• Commentary: At Comic Book Resources, Laura Sneddon, who is documenting her experiences in the postgraduate Comic Studies program at the University of Dundee in Scotland, examines the work of Robert Crumb and Aline Kominsky-Crumb for the class topic "Comics and Gender"
• 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."
• Review: "...[L]ike Herge, another exemplary creator who made comics primarily for kids and later found an audience of devoted adults, Barks’ duck stories are richer, more compelling and smarter than a cursory glance might suggest... Most reprint projects worth their salt these days require some thoughtful essays and supplemental materials and [Walt Disney's Donald Duck:] Lost in the Andes is no different.... In short, this is exactly the book that Barks fans and the curious have been waiting for. ...Barks remains an exemplary cartoonist. His work is thrilling, funny and rather knowing about human nature without ever seeming trite or obvious, and despite the occasional pop culture reference it hasn’t aged much over the decades either. How good was Carl Barks? Pretty goddamned good." – Chris Mautner, Robot 6
• Reviews: "First and foremost, Willie & Joe are funny. Fantagraphics has put the WW II years out in paperback, but I've got the also available hardcover, a great looking slipcase in army green with two fat volumes of his captivating artwork. Never having served (or even fired a gun), it's an absorbing glimpse into the day to day life of soldiers while it was happening and the end not known. It's easy to identify with: employees in any capacity gripe about their bosses. But the more specific Mauldin is, the more biting and fascinating his work is.... Finally, it's Willie & Joe: Back Home that moved me the most.... Mauldin is always funny, but those with a rosy image of WW II will be surprised by the complex world shown here... Fantagraphics has captured Mauldin's most enduring characters in two releases that do him justice." – Michael Giltz, Huffington Post
• Commentary: On Amazon's books blog Omnivoracious, Alex Carr looks at Amazon's list of Best Comics & Graphic Novels of 2011 and comments, "Perhaps most rewarding, though, are Jaime Hernandez’s short stories in Love and Rockets: New Stories Vol. 4. The longtime creator completes a long-running narrative without grandiose preening, and the art is full of expression and effortless charm. The final pages speed toward a finish that will satisfy new readers and bring bittersweet conclusion for fans. It’s the best feeling for a Love and Rockets devotee: not wanting the decades-long love story to end but being so pleased with the way it may have (if this truly is the conclusion)."
• Interview:Comics Bulletin's Jason Sacks talks with Kevin Huizenga about the new issue of Ganges: "I don't like [the term] 'experimental,' because it gives the impression that the usual qualities of a good story are less important to me than formal trickery. I'm trying to draw something that I want to read, that I haven't seen before and that is still nicely designed and readable."
• Plug: "I have just received my review copy of Walt Disney's Mickey Mouse: 'Trapped on Treasure Island' and as amazing as it sounds David Gerstein and Fantagraphics have managed to do it again: they have produced at the same time the best Disney comic book of 2011 and one of the best Disney history books of the year." – Didier Ghez, Disney History
• Review: "Artists of vision toiling within the gears of a vision-suppressing machine, Carl Barks and Floyd Gottfredson drew and wrote great swathes of the best popular art of the twentieth century, mostly in the least auspicious venues available: comic books and comic strips credited to Walt Disney.... Fantagraphics is currently collecting the work of both artists: Barks's transcendent Donald and Scrooge McDuck comics, and Gottfredson's sprightly Mickey Mouse serials. To the publisher's credit, the books are gorgeous but designed for readability rather than coffee-table displaying. This is great art you can feel guilt-free perusing in the bathtub....
"The initial volume in the Barks series is... all pleasure, a treasury of deceptively simple gag and adventure stories that fashioned with wit, irony, and impeccable craftmanship.... The longer stories here... are suspenseful, surprising, funny, and fresh... These kids' comics are far from kids' stuff -- this is for everyone....
"Like the goofy, violent, darker-than-expected cliffhangers of the second Indiana Jones flick, Gottfredson's Mickey Mouse -- especially in in its second volume, covering 1932 and '33 -- is an exhausting achievement in can-you-top-this adventure storytelling.... This kids' stuff isn't for kids, either. But it's revealing and thrilling, both a guide to what's long been wrong with this country -- and guide to what's great in its imagination." – Alan Scherstuhl, SF Weekly
• Review: "...I’d been looking forward to the Fantagraphics [Carl Barks Library] series, and I’m happy to say it’s being done right.... I like to think that Carl Barks, an unpretentious storyteller who created for an audience of children whose intelligence, ingenuity and decency he never doubted, would approve and be gladdened by how his work, this time around, is being put back out into the world." – Tom De Haven, The Comics Journal
• Review: "...[I]n this insightful and riveting biography, Avery has brought the flat-capped, sunglassed, mustachioed, Nat Sherman-smoking, hamburger eating, and Coca-Cola guzzling wordsmith back to life; a writer as fascinating -- and frustrating -- as many of his interview subjects.... Thankfully, more than half of the books pages are given over to reprints of Nelson's own work... And while Everything Is an Afterthought will bring renewed attention to the work of Paul Nelson, it's the work of Kevin Avery that resonates most as he tries -- and succeeds as much as possible -- to unravel the enigma of Paul Nelson's mind." – Bob Ruggiero, Houston Press
• Review: "Michael Kupperman’s Tales Designed to Thrizzle #7 has many more laughs than it does pages. It’s jokes that build on jokes that lead to more jokes through left turns, fakes, surprises, and nerdy pop culture references.... One premise leads to the next, like one of the better episodes of Monty Python or Mr Show... – this book is funny enough to make you crack up on a crowded bus." – Tom Mohrman, CultureMob
• Interview: David Fernández of Zona Negativa has a career-spanning Q&A (in English and Spanish) with Jason: "You don’t do comics for the money. You do it for love of the medium, for the need to tell stories in images. It’s not necessarily a bad thing. You feel a connection to other struggling cartoonists. It’s something you have in common. There some humility in it. So there are very few cartoonist assholes. I haven’t met any."
As we were preparing for the art show, I thought it'd be fun to chat with the organizers of Short Run -- that would be, Martine Workman , Kelly Froh, Jenny Gialenes, Eroyn Franklin -- about the inaugural event:
So, how did the idea of Short Run come together?
Martine: I've been going to comics events since 2004, even though I don't really make comics. I always wanted to attend an event that welcomed all sorts of makers and small publishers of comics, writing, poetry, zines, and artist books. Last year Eroyn saw my work and contacted me out of the blue since we were both publishing our own books in Seattle. Our friendship grew out of conversations about self publishing, art, craftsmanship, and wanting to create a community for ourselves. Around this time, Profanity Hill was up and running for a bit, and it was exciting and surprising to see so much local work being made. After talking to my pal Jenny, who works in literary event promotion and moonlights as a zinester, it seemed possible to bring the self publishers of our region together by organizing a small press fest! She came up with the name -- which I love! -- and agreed to help coordinate the event. Kelly, a true blue mini-comix maker and fantastic organizer, joined us soon after and rounded out the group. We've had a lot of fun and I feel really lucky we work so well together as a team.
Jenny: The first night Martine and I spoke about Short Run, we were talking about the need for this kind of event - I had just come back from SF Zine Fest and felt like I found my mission in life. There was this sense of community there that I had only seen small glimpses of in Seattle.
What do you see as the main focus of Short Run?
Eroyn: Short Run hopes to extend Seattle's exposure to the small press world that exists within and around it. We want to expand the audience for small press work and let artists engage directly with the people who like what they do. Short Run will build on the small press community that we do have and foster communication between artists who work in different mediums and styles. As a group we don't commit to any particular medium or aesthetic -- we are not a comic-con or a craft fair or a zine festival but we encompass aspects of all of these because we think they can all be engaging.
How do you define what is "small press" to you?
Kelly: Small press, in regards to what you will see at Short Run, are hand-made, self-published, “short run” art books, comics, zines, and literary works. You’re going to see a lot of work that has been photocopied, screen-printed, side-stitched, glued, covered in gold leaf, stencil-cut, and folded in ways you can’t conceive of! Many of the artists and writers have had one or more of their books “professionally” published, or hope to some day, but Short Run’s heart is the home made.
Even though Fantagraphics won't have a table, several of our artists will be in attendance... like Megan Kelso! How did you get Megan involved?
Kelly: We are totally excited that Michael Dowers will be at Short Run! We don’t think mini-comix ever went away, but the people creating them scattered and many new comic artists were not aware of any kind of “scene”. Seattle does not have a Fallout Comix anymore, or a Confounded Books, or even a Pilot Books. Besides a few dusty spin racks, there is no physical hub for selling and sharing mini-comics. There are lone creators and drawing groups all over Seattle that meet on different nights in difference places, and mini-comics are being made.
Eroyn: The capability to self publish is more attainable than ever and people are definitely taking advantage of new technologies and affordable printing to produce great work.
Eroyn: Along with these stores and a few independent distros like Jason T. Miles’ Profanity Hill, we hope to help foster underground press in Seattle.
And, finally, what sort of future do you guys envision for Short Run? Do you hope to keep it small and local? Or will it eventually be the Seattle-version of an APE or Stumptown?
Jenny: I would like to see Short Run grow into itself organically. Big is not necessarily better - unless there is a solid community there providing the support. It's the difference between a stadium concert and going to see a local band at your favorite club - both have equal measure, they are just two very different experiences.
Kelly: It was our experiences at these larger festivals that helped us to decide what we did and didn’t want to be. We want to always be free to the public, and we want to always have low cost tables. Being local was really important to us as well, and one aim of Short Run was to draw out first-time tablers and try to reach people who had maybe shied away from other larger conventions. Looking over our exhibitor list, you will see that we have a lot of exhibitors from Portland. We can learn a lot from the comics community that they have built but Seattle has its own history of alternative cartoonists, and we need to grow from there. Short Run not only has a few of these “legends” of small press in attendance, but we have a ton of more obscure artists and writers, not only from comics, but from zines, animation, and the literary world. It’s a great showcase of artists and writers and we are really excited to share Short Run with Seattle!