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Pete Sickman-Garner
Hey, Mister: Dial "M" for Mister
by ANNE ELIZABETH MOORE

There are certain tales in our culture that never ever go away, and are recycled again and again, the joy of hearing them for the zillionth time coming from the new twists and nudges to old themes, characters and plots. These stories are inspired by figures so endurant, so hardy and so attention-grabbing that we remember their original names but also spot them in each incarnation: Romeo and Juliette; Holden Caulfield; Jack Tripper, Chrissy Snow, and Janet whatever-the-hell-her-name-was.

In Dial "M" for Mister, Sickman-Garner re-envisions the old Hey, Mister gang as a group of friends besieged by the Greek Gods. Mister, chosen as Hera's Pygmalion/makeover subject as a bet to prove that any old schmuck can bed Aphrodite (if he has enough help), stumbles through the pleasures of a Dionysiac fantasy world with all the grace of, well, Mister. The heavy-handedness that generally accompanies such an over-told trope is missing here, in part because the Mount Olympus shtick is used to advance the plot, that Mister is in love with Aunt Mary but can't move their relationship out of the realm of comfortable friends, and also because the annoying boy mutant Tim (whose primary purpose is to shout "Hey, Mister") is totally unaffected by the touched-by-the-gods status of his old friend. With Dial "M" for Mister, Sickman-Garner finally solidifies his own cast of characters (and firms up his visual style), and does so with a new twist on an old, old plot.


AK Press Distribution
AK Press - 2001 Catalog
by KENTON WORCESTER

This jam-packed catalog of anarchist, green, avant-guard and fringe literature includes a credible graphic novels section that Journal readers might want to check out. Some featured creators are well-known, such as Alison Bechdel, James Kochalka, Alan Moore, and Peter Kuper. Others are definitely below radar, including Winston Smith ("long-time Dead Kennedy's cover artist"), John Olday (anti-war cartoons from the 1940s), and David Britton, author of The Adventures of Meng and Ecker, "the only comic to be banned in England, and literally burned by court order." Strewn among the volumes of agitational posters, photo-montage and the like are some undiluted comix gems. I especially recommend Breaking Free: The Adventures of Tintin, an anonymously authored pastiche in which Tintin, Captain Haddock and company "battle it out against the State" on behalf of working-class libertarianism; and all four of Donald Rooum's Wildcat collections, an unjustly overlooked anarchist comic strip with real artistic bite. Somebody at AK Press has an eye for comics; you should reward his or her fine judgment by requesting a free catalog.


Peter Blegvad
The Book of Leviathan
by NG SUAT TONG

Peter Blegvad's Leviathan was one the few things that made The Independent on Sunday worth a look even as that paper was crumbling under the weight of Rupert Murdoch's Sunday Times. Written with exceptional intelligence, delicacy and wit, and drawn in joyful exploration of the vastness of the comics form, Leviathan embraces the mesmerizing world of physical and spiritual childhood in a collage of ideas drawn from science, poetry and literature. Within are commentaries on the formidable geometry of drapery folds, willfully desultory explorations of mythology, Hegelian dissections of anti-bunnies, discourses on nefarious papal indulgences and accousti-tours of Hell.

Levi is the name of the overly-intellectual baby who inhabits this expansive world; living up to his namesake in terms of Hobbesian individuality and strolling through the worlds of art and politics as "one made without fear" and "king over all the sons of pride." Far more satisfying than a simple reading of the original serialized episodes, this collection is as exhilarating as discovering a short poem by Blake for the first time. A rare instance in which the label "essential" is not misplaced, Leviathan is one of the great strips of the last decade.


Archer Prewitt
Sof'Boy and Friends: Econo Combo Nos. 1 & 2
by ANNE ELIZABETH MOORE

I'm trying to get over a prejudice against comics I don't get, and Sof'Boy and Friends seemed like the perfect place to start. Yeah, there's a sort of lost-art of the comic strip character mentality that resurfaces here (semi-wacky figure wanders through distinctly wacky environs) and these bright, bright colors that attracted me before I even realized it, but Sof'Boy as a cultural phenomenon? Not sure I get that.

Not that it matters. Sof'Boy devotees are kind of die-hard, and won't be swayed by my opinions of their favorite squishy little guy and his oblivious misadventures. Besides, if you feel the need to be caught up to the current state of discussion among comic-book circles, this is one of the most important books to pick up: it's a convenient, 1950s-era inspired little thing that urges you to enter Sof'Boy's world, surround yourself with his kind-of-Chicago environs, meet his crazy friends (Flitty the Fly! Pidgy the Pigeon! And the wacky cannibalistic drunk bum!) and get over your meaningless concerns about what is or isn't a cultural phenomenon. After all, if you were Sof'Boy, dogs would piss on you, mean kids chase you, and you would regularly get run over by all manner of motor vehicles, but you would still enjoy each and every day to the fullest.


Edited by Justin Melkmann
New Observations, Spring 2000
by ERIC REYNOLDS

This is apparently over a year old, but my otherwise pulsed-up fingertips just smeared some barbecue sauce over it for the first time, so maybe it will be new to you, too: The Spring 2000 issue of New Observations focuses on comic books and cartooning, and is a must-have.

The magazine (a non-profit contemporary arts journal "written, edited and published by the arts community," whoever they are -- sounds like one of those large eastern syndicates to me) features a rotating guest editor and topic every issue. Justin Melkmann, about whom I know very little but who seemingly knows his business, headed up this comics-themed issue, that features an eclectic batch of essays by cartoonists about their art and craft.

Among the contributors are Jim Woodring, Adrian Tomine, Phoebe Gloeckner, Penny Van Horn, Dame Darcy, Dave Cooper and Debbie Drechsler. The essays widely vary in quality, and there are a couple of puzzling inclusions among the excellent artists already mentioned, but never mind that. Most selections offer unique, if fleeting, perspectives that a lot of interviewers would likely never even think to try and mine. The must-reads are Woodring's "Cartooning," a written tribute to the form of comics (and Walt Kelly) that ironically shows Woodring to be every bit as good a writer as he is a cartoonist (and at that he's one of the greats) as well as Tomine's "On Meeting a Cartoonist for the First Time," which is a more modest but nonetheless heartwarming true story of a prominent underground cartoonist peddling marijuana to his adolescent protegé. If that doesn't intrigue you and this magazine does, we're doing something wrong.


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