Janet Hamlin's first on-screen interview about her new book Sketching Guantanamo: Court Sketches of the Military Tribunals, 2006-2013 (coming in October) was aired on the Arabic news channel Al Arabiya this week. Filmed on location at Guantanamo after a full day of hearings, the video shows Janet in the compound, journalists photographing her drawings, and some nice views of the book including the striking shot below. It's a perfect introduction to Janet, her work, and the book.
The following interview was conducted by Fantagraphics Bookstore curator Larry Reid in 1995 prior to the release of Terry Zwigoff's phenomenal documentary Crumb. Small fragments of this discussion were included in a review of the film published in The Rocket magazine. [A complete, unedited transcript of this conversation can be read here. Thanks to The Comics Journal editorial intern Janice Lee for scanning and proofreading the original typewritten manuscript. – Ed.] At the time of the interview Zwigoff was still six years from directing his breakthrough feature Ghost World, but hispassion for independent film, alternative comix, and anachronistic pop culture is fully evident.
Terry Zwigoff appears in person at Central Cinema in Seattle on Thursday, November 29 for an 8PM screening of his film Bad Santa followed by a Q&A session (more info & tickets).
LARRY REID: What were the circumstances surrounding your association with Crumb? How did you meet?
TERRY ZWIGOFF: The short answer is I met him through our mutual interest in music, much like the stuff you see in the film — late ’20s jazz, blues, ragtime music. We both collect old 78s of that type of music and we both play in this band he founded in 1972 called the Cheap Suit Serenaders.
LR: Were you familiar with his work prior to meeting him?
TZ: Yes. I actually approached him because I wanted him to draw something for this project I had in mind.
LR: How did you get involved in the Cheap Suit Serenaders?
TZ: I was friends with Crumb and also Bob Armstrong and Al Dodge. We used to hang out together a lot back in those days and they had started this band a year before. This was in 1973 and they kept after me to learn an instrument and join. Bob and Al lived together back then in this farm house in Dixon, California and somebody had come through town and left a cello there. In these old time string bands they used to play the bass parts on a cello with a bow. I was interested in this music and it wasn’t hard to do, so I quickly learned how to play it and joined up.
LR: I noticed you didn’t use any of this Cheap Suit Serenaders in the film.
TZ: We filmed the Cheap Suit Serenaders just before Crumb moved to France, one last concert that was sort of a spur of the moment thing. I didn’t think it was too exciting, but I figured I wasn’t being too objective about it so I let my producer and the editor and a lot of other people decide. A lot of people looked at it in the rough cut version and they all thought it was pretty dull. It was basically the four of us looking down at our instruments playing. It wasn’t real exciting.
LR: Crumb is notoriously bashful. He doesn’t like to be in the limelight. I wonder how you convinced him to cooperate with the movie.
TZ: I’m sure he thinks it was a mistake now. I don’t know. I just kept after him to do it. I was mainly interested in doing a film that involved his brothers and him. I told him repeatedly that this wasn’t just a career biography of R. Crumb, which I think had some appeal to him, but I think he also thought that even if the film got done it wouldn’t be seen by very many people, that it would be shown at a few film festivals and be put to bed. I think he’s rather dismayed that this thing has been successful.
LR: Did he actively encourage his family to cooperate in the making of the film?
TZ: No. He was pretty neutral about it. Before we even got started I told him, “Look, I really don’t even want to go out and buy any film stock until you call your mother and your brother and see if they’ll be in the film.” I’d met them. I spent a night at their house in the early ’70s. I really liked his brother Charles. I found him an endlessly fascinating guy. I liked his mother, too. I thought they were both very eccentric but very brilliant in their own way. I really enjoyed being around them and I had a memorable night at their house and I thought I hit it off with them really well. I asked him to call them and maybe this would put an end to this project right now. They’ll probably say no. They’re pretty reclusive. He called his mother from my house and he was on the phone for like 10 minutes and nobody’s answering. I said, “Hang up already. Nobody’s home.” And he said, “No. My mother usually takes about 40 or 50 rings to pick up the phone.” Sure enough, she finally picks up the phone. He says, “Remember my friend Terry? He spent the night at your house 14 or 15 years ago.” She says, “Oh yeah, yeah.” “Well, he wants to do this documentary on me and he wants you and Charles to be in the film.” She says, “Oh sure.” Just like that. Of course it wasn’t quite so easy when we went to film. But at that point he sort of had to go along with it because she’d already agreed to do it. Like I said, at that time I don’t think he thought the film would get done or that I’d get the money raised to do it. I was having a hard time. It took me 9 years to do the damn thing. Nobody was too interested in it as a commercial project, but I always had this strange idea that it was going to be a commercial film.
LR: What about Crumb’s sisters? They don’t appear in the film. I understand one of his sisters lives in Seattle.
TZ: I hear she’s a radical lesbian separatist. I don’t know. I only met her once and I didn’t get a chance to talk to her much. She and Robert were in a big fight. I called her to try to let her tell her side of things in this film, but as soon as I told her what I was up to she just said, “Forget it. I’m not going to be in any film, and if you so much as mention my name I’ll sue you,” and hung up on me. She just seemed immediately angry that there was a film happening about Robert.
LR: Do you suppose that’s a reaction to the misogynist content of some of Robert’s work?
TZ: According to him she had asked him years back for $400 a month reparations for the damage his comics had done to women. That’s one of the things I wanted to ask her on camera. You never know. Robert makes a big show of being very frank and honest and open in his work, but it’s not always quite so straightforward. He has his own motives like anybody else, and he’s comfortable with presenting his own story in a certain way that isn’t necessarily 100%, shall we say, accurate. And that’s not to say my film is either. It’s my interpretation of many facts as well. He finally saw this film and didn’t seem very happy with it. I sent him a video tape of it. I was trying to get him to hold out to see it on film in the theaters, but he kept bugging me to see it. My distributor, Sony, wanted him to see it because he was absolutely refusing to do any press on the film, saying “If he really loves the film maybe he’ll do some press.” And I said, “I wouldn’t hold your breath.” Anyway he seemed very disgruntled about the whole film. He didn’t seem to like it.
LR: Was there anything specific that …?
TZ: What he told me was that after watching the film he had to go for a walk in the woods to clear his head. And he took his hat off that he’d owned for like 20 years, his favorite hat and threw it off a cliff, and said, “I don’t want to be R. Crumb anymore.” And I said, “Well what does that mean? Did I misrepresent who R. Crumb is, or did I represent him so accurately that you don’t want to be him?” He said, “I don’t know. Here, Aline wants to talk to you.” And Aline got on the phone and she was pissed off about the way I presented her. So, you know, you can’t win. I did a film on this old blues musician, Louie Bluie, and he never spoke to me again once I made this film, and I thought it was a very flattering portrait of him. I knew enough about making this film that people would know I was Crumb’s friend, that I didn’t want to just churn out some celebratory puff piece on the guy. I wanted to be a little bit critical of him, and show some of his pros and cons, warts and all. Apparently he’s not too comfortable with anybody else doing that but himself, I guess.
LR: Crumb has another sister back East. She doesn’t appear in the film. Is there a story behind that?
TZ: I called her as well. He gave me her phone number. I’d never met her. I asked him what she was like and his take on her was that she wouldn’t be that interesting on camera, that she was rather shy and wouldn’t have much to say. But I wanted to film her anyway. Give her a chance to speak for herself instead of taking his word for it, because he misled me in a number of areas in this film actually.
LR: In reference to his family?
TZ: No, maybe misled is the wrong term but there was definitely a number of instances where, to put it simply, he could have been much more helpful than he was. He sort of dragged his feet. He was very strange about many things. Very uncooperative at times and very cooperative at other times.
LR: You mentioned your earlier project Louie Bluie. Could you talk a little about that?
TZ: He was a blues musician. He made 2 records in his whole life. Two 78s, one tune on each side back in those days. This was 1934. He recorded for Blue Bird, which was a subsidiary of RCA Victor. He made this record called “State Street Rag” which I found a copy of. It was a virtuoso mandolin performance with a guitar backing this guy up, and the only name on the record was Louie Bluie, which was obviously a pseudonym. I found a copy of this record, and I knew a lot of other serious record collectors around the world, and I was very impressed with this record. So I asked them about this and the word was out that there was only one other copy known of the record. So this record had a mystique to me and I was very intrigued by the guy’s mandolin playing. At the time I was writing articles and liner notes about music, old time music in particular and always in the back of my mind I wanted to find out what happened to this guy. Who was this guy who had made this record years ago? I spent a couple of years doing some detective work and wound up finding this guy still alive. He was living in Detroit, and the guy who played guitar on the record was living in Chicago, and they were still friends, were still playing music together. I flew out to meet the guy and he was such an incredible character, not only a musician, but he also kept these secret, hidden pornographic diaries, that were very similar to Crumb’s artwork. Very cartoony and very old fashioned in style. I was determined to have somebody make a film on this guy. I didn’t really consider myself a filmmaker at the time. I tried to convince a few other filmmakers I knew to make a film on him, but nobody seemed too interested and eventually I got started on it and I got in too deep and had to finish it. It led to this.
LR: That’s what got you into documentary filmmaking?
TZ: Yeah. I sort of stumbled into it backwards.
LR: What was Robert’s response to the film? I saw the poster he did for it.
TZ: He liked it a lot. It’s probably one of the reasons he agreed to do this film.
LR: I was curious to get your reaction to some of Crumb’s more politically incorrect comics. Do you think his work is meant to be satirical?
TZ: I don’t know. You’d have to ask him. I could tell you my reaction when I first saw his work when I was a kid in college. I remember seeing that comic that was in the film, “Angelfood McSpade,” where they take her out of Africa and wind up stuffing her head in a toilet. My reaction was not only was it funny, but it was very politically correct in a broad sense, not in a knee jerk liberal sort of way, but I thought it was very much an indictment of America — an indictment of racism more than anything else. That seemed to be what it was about to me and I tried very hard in the film to present it in such a way that you could read the entire comic and have appropriate music. I was still shocked to find people who see the film find that strip racist.
LR: What’s been the reaction from your peers in the film community?
TZ: I’m really pleased that David Lynch liked it so much, because I’m a really huge fan of his stuff.
LR: David Lynch is actually credited with presenting the film on the promotional material.
TZ: Well, I originally approached him for money presuming he was a big fan of Crumb’s, which somebody had told me. Somebody told me that he had a poster in his office of Louie Bluie, and the only thing on the wall of his office was supposedly this poster. But the guy who told me was sort of a drunk in a bar I had met. He said, “Yeah, I work for him and we’re good friends.” And I thought, “Yeah, right, buddy.” But I always remembered that and years later, when we were desperate for people to hit up for money I said, “I’m gonna be in L.A., maybe I can meet with David Lynch. Maybe this story was right and if he had this poster on his wall he’s either a fan of the film, which I made, or he’s a fan of Crumb’s, who did the poster art.” So I met with David and I asked him, “So, you’re a big fan of Crumb’s?” And he said, “No. I know who he is but I’m not a big fan. I like his stuff all right.” I said, “So you like this film Louie Bluie then?” He said, “No, I can’t say I’ve heard of that.” Very strange guy. Anyway, I showed him this film, and he really liked it. That eventually led to him putting his name on the film as sort of an endorsement, which was a thrill to me.
LR: Do you expect the film will be a commercial success at this point?
TZ: Well, it doesn’t have to make much money to be a commercial success since it cost so little to make. But, yeah, I think it’s going to do really well.
The last time we were lucky to have a visit from Joe was in 2007, when he and our Store Manager/Curator Larry Reid discussed Palestine: The Special Edition. You can watch video from that here. And, as you'll see in the video below, it was another riveting discussion, this time with our head honcho Gary Groth at the helm!
(Sadly, I missed the first couple of minutes of their talk, sorry!)
You can also check out some more beautiful shots from our new Editorial Intern Matt Burke (and some not-as-beautiful iPhone shots from me), both below, and on the Fantagraphics Flickr feed!
Gary Groth rocks the mic // photo credit: Matt Burke
The crowd before the Q&A began // photo credit: Matt Burke
Joe chats with local cartoonist Kelly Froh while Fantagraphics' own Russ Battaglia gives a grin
Joe signs a book for Marketing Director Mike Baehr
If you can't wait for the official release date, the Fantagraphics Bookstore & Gallery is the only place on the planet where you can get it before June 19th! I bet your Dad would like a copy! We're located at 1201 S. Vale Street in Seattle's Georgetown district. Open daily 11:30 to 8:00 PM, Sundays until 5:00 PM. Phone: (206) 658-0110.
• 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."
We were delighted to be joined by Jeffrey Brown, who was in town for a screening of his film Save the Date at the Seattle International Film Festival! He graciously signed copies of his best-selling new book Darth Vader and Son, and even more graciously (way more graciously), chat with lil' ol me about the new movie, his upcoming books, and, well... cats. Kinda.
• Review: "Beyond the quality of the artwork, which remains amazingly detailed and perfectly perfect in its storytelling,Dungeon Quest is really funny, the humor sometimes seeming dissonant — but pleasingly so — given the seriousness with which Daly approaches, say, drawing a rock-strewn valley or depicting a slow, tiring march through a forest (It’s almost Tolkeinesque in his commitment to describing walking!) or choreographing a thrilling action scene." – J. Caleb Mozzocco, Robot 6
• Review (Audio): The guys at Washington, D.C.'s Big Planet Comics discuss Angelman by Nicolas Mahler on this week's episode of their podcast, declaring "if you're sensitive about your love of superhero comics, this is probably not for you, but if you want awesomely cool cartooning art by Mahler and something really different, here you go. It's funny too."
• Awards: Congratulations to the great Joost Swarte, awarded the 2012 Marten Toonder Prize and its concomitant fat cash prize by the Netherlands Foundation for Visual Arts, Design and Architecture, as reported by Tom Spurgeon at The Comics Reporter
• Review (Audio):Inkstuds host Robin McConnell is joined by Paul Gravett, Joe McCulloch and Tom Spurgeon for a roundtable discussion of Cruisin' with the Hound by Spain Rodriguez and other books
• Review: "Here are the early ejaculations from the primordial form of what was to become one of the great American writers. Here is Flannery O'Connor as she is formulating her unique vision of America and all that it entails.... What value does Flannery O'Connor: The Cartoons have inherently? I think the answer to that question is entirely subjective. ...I personally wish to thank Fantagraphics for going out on a limb and publishing this book, if for no other reason than to put Flannery O'Connor back into the pop culture discussion for however briefly it may be." – Daniel Elkin, Comics Bulletin
• Review: "Anyone can be grotesque and horrifying. To truly get under the skin of the audience is an ability not many have. Someone who does is Thomas Ott, and he uses his ability to the highest effect in Cinema Panopticum. ...[I]f you are looking for an unsettling horror story rendered beautifully by an expert craftsman there is no doubt this should be in your collection." – Taylor Pithers, The Weekly Crisis
• Interview (Audio): Spend 3 minutes with Michael Kupperman as Tom Gambino of Pronto Comics talks to Michael from the floor of last April's MoCCA Fest on the ProntoCast podcast
• Film Studies: At Boing Boing, Jim Woodring writes about the 1931 Fleischer Bros. short that expanded his young mind: "I might have come to grips with the overwhelming mystery of life in a rational, organic manner if it weren't for a cartoon I saw on my family's old black and white TV in the mid '50s when I was three or four years old. This cartoon rang a bell so loud that I can still feel its reverberations.... Whatever [the creators'] motivation and intent, 'Bimbo's Initiation' became my prime symbolic interpreter, the foundation of my life's path and endlessly exploding bomb at the core of my creative output."
• Review: "The sad, forgotten beauty of the in-between moments of daily life: playing a board game at a kitchen table just cleared from a family dinner; listening to music having just slipped off your shoes; daydreaming while doing the dishes. What would it be like if a series of graphic novellas tried to capture these moments? What if it also featured an omnipresent, invisible rabbit that could change sizes and a dark, cloud-shaped creature ('the Big Blind') living in the basement of an apartment building that fed on the memories, dreams, and nightmares of its inhabitants? It would probably be something like the Italian comic-book creator Gabriella Giandelli’s... Interiorae." – Nicholas Rombes, Oxford American
• Preview: At The Beat, Jessica Lee presents a 5 page sneak peek of the new book by Josh Simmons, saying "Toying with the vulnerability of characters that seem timelessly recognizable, i.e. fairies in a fantastical land or a batman-esque figure scaling a wall, The Furry Trap is a graphic novel that is set to shock and appall its reader, yet Simmons is able to retain an even stronger range of visual style that makes this graphic novel’s scope extend further than being just a horrific tale."
• Plug: "...[T]he new volume of Prince Valiant, volume 5, is here and an event all its own. Fantagraphics' new hardcover printings of these wonderful Hal Foster Sunday pages offers the finest reproduction yet, far superior to their old softcover series. While I own the original Sunday pages, collected years ago, I could not resist sitting down with these new volumes and getting re-hooked on the stories AND art by one of the very true masters of comic art." – Bud Plant
• Plug: "Out of the Shadows deserves your attention. Meskin is one of my favorite artists from the 1940s and 1950s.... Mort's work here are some of the hidden gems of the Golden Age.... This book comes a long way to reveal this incredible talent who rose above the mass of Golden Age artists." – Bud Plant
• 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
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