So, a quiet weekend on this site, huh? Gee. I've learned so much. I learned that I miss Matt Seneca very much. Wait, what else did I learn? Oh yeah: Nothing. RJ's piece remains dead-on. But, I want to note a few things, which no doubt will be misconstrued, read in bad faith or otherwise distorted:
First, as a point of whatever shred of pride I have left: The idea that TCJ is a house organ of Fantagraphics is ludicrous. Tim and I live on the east coast and haven't met officially with anyone from Fanta in maybe three or four years, or even heard from anyone aside from the usual PR stuff, image requests, and the odd bit of "hi, how ya doing?" Not on purpose, but because everyone is busy and work is work. Maybe one phone conversation in between? Maybe? We are freelancers. It is equally ludicrous if not insanely naive to think that Fantagraphics is trying to "hit" a competitor. TCJ just published a far more damning review of a brand new Fantagraphics book, one written by a TCJ contributor. I have written in praise of IDW books many times. We don't care!
Then again, there's never any point defending TCJ or Fantagraphics because people who imagine TCJ to be a "house organ" or Fantagraphics to be some elitist cabal are obviously not looking at either with any seriousness. It shows an astonishing level of willful ignorance and bad faith—every single page of the site has this text written on the bottom-right: "PUBLISHED BY FANTAGRAPHICS BOOKS"—and there's no point engaging with that kind of thing since there's nothing substantive to engage with. Life is too short.
Yes, RJ works for Fantagraphics. Comics is a tiny community -- he is a human with opinions first. Institutionally, comics and every other art form is a nest of conflicts-of-interest. Be thankful you’re not in the poetry world! In a comment on RJ's piece, Carol Tilley, without an ounce of irony, writes, "I am friends with Craig, was a member of the Eisner judging committee during 2016 when Yoe Books was nominated for and won an Eisner, wrote an introduction for one of the Weird Love collections, and provided advice on a couple of other titles." Hilarious!
Anyhow, RJ's piece isn't going to dissuade anyone from buying those books. Gimme a break. Both here and at Comics Comics we've run negative reviews of Yoe books that, in retrospect, are probably (and wow, what a low standard) the best things he's done. Most humans don't buy books according to who published them. They buy according to subject. All the more reason for those subjects to be handled with care! RJ articulated exactly what every sophisticated reader and historian (especially the latter) knows about the problem of making considered and informed publishing decisions. Finally, it's an understatement to note that it's important to advocate for a more considered approach to comics history.
Anyhow, that’s it. Today Matthias Wivel writes about Jack Kirby's late foray into autobiographical comics, Street Code.
Late in life, Jack Kirby returned to his youth. After a long, distinguished career he drew his first unequivocally autobiographical story, "Street Code", in 1983 (published 1990). In it, he remembers the dreary tenements on the Lower East Side of New York that he called home during the Depression, the unspoken love between he and his immigrant mother, the way his American identity was defined along ethnic fault lines, and the gang violence that became a constant, socializing factor for him.
It is an intensely sensed story, as always more or less improvised on the page. It ends abruptly with a sharply brooding self-portrait of the artist as a young man. He stares directly at the viewer with the glare of someone beyond his years, disgusted by the way of life he and his peers are forced to adopt. Kirby thus offers us a key to the art that led him out of this misery and with which he here brings that former reality to life. He aspires toward the arch-American narrative of social transcendence, ubiquitous not least in popular culture – and at the time he drew this story expressed most potently in New York’s still youthfully burgeoning hip hop culture.
Speaking of good books on comics, here's the story of how Jerry Lewis wrote a foreword to Karask and Newgarden's 150 years (give or take) in the making How to Read Nancy.
I love well-researched obscure comics history, naturally. Just like some of you. Here's some raw data on the great H.G. Peters.