Hey it’s Jog’s Day here with this week’s new releases and gems of bygone years.
Brian K. Vaughn talks comics and digital platforms over at CBR.
Hey it’s Jog’s Day here with this week’s new releases and gems of bygone years.
Brian K. Vaughn talks comics and digital platforms over at CBR.
Good morning. Today we introduce a new occasional column from Paul Tumey, “Framed!” In the first installment, “The Lost Comics of Jack Cole“, Tumey tackles Cole’s very early years, after explaining why the exercise is necessary:
Jack Cole kept secrets.
When he was in high school, Cole would quietly sneak into his family’s kitchen in the middle of the night where he would assemble and wrap a sandwich for his school lunch the next day. Back in his room, he would hide the sandwich inside a hollowed out book.
His boyhood room contained cabinets Cole – a sort of small town Buster Keaton — built, complete with hidden compartments. One of these compartments held electronic gear Cole had assembled that allowed him to eavesdrop without detection on his family’s telephone calls. Much like his 1940-41 comic book character, Dickie Dean, a boy inventor (who lived in New Castle, Pennsylvania, Cole’s hometown), the young Jack Cole was endlessly resourceful.
Smuggling a sandwich to school allowed Cole to secretly save his lunch money to invest in his passion: cartooning. Cole eventually saved up enough quarters and dimes to buy correspondence courses from the Landon School of Cartooning — courses that his father, a small business owner, had refused to subsidize.
A career born from such stubborn resourcefulness and playful secrecy is bound to hold some surprises. Over half a century after Jack Cole’s life abruptly ended, we are still discovering his secrets.
A study of Cole’s lesser-known –and mostly forgotten – comics and cartoons sheds light on his greatest work, his Plastic Man stories and Playboy cartoons. It also reshapes in fun, manic Plastic Man fashion our current narrow understanding of this secretive, influential 20th century pop artist who was never interviewed, never profiled in his lifetime, and rarely even photographed.
—Tom Spurgeon has written the most thorough obituary of Kim Thompson to appear yet. You ought to read it.
—The Billy Ireland Cartoon Library’s Dylan Williams Collection is looking for help identifying the creators of minicomics.
—The Daniel Clowes MCA show in Chicago has gotten more coverage, in the Chicago Tribune (with another look at Clowes’s Chicago landscape I linked to last week, only with newer, more in-depth annotations), and a review from Noah Berlatsky in the Chicago Reader, and gets in an argument in the comments with a representative of Pigeon Press.
—I missed Ted Rall’s recent column announcing the death of editorial cartooning
after before the Association of American Editorial Cartoonists convention. Matt Bors, a young cartoonist mentioned in Rall’s column, wrote about the same AAEC event, including a great Pat Oliphant anecdote. Then Tom Spurgeon interviewed Bors yesterday, which I haven’t read yet, but it’s top of my list for today.
—Fuel for true believers & haters: The New Yorker‘s cartoon editor Bob Mankoff did a TED Talk.
—Box Brown talked to the Beat about changes at Retrofit Comics.
—The Guardian has an interview in comics form with the family behind The Phoenix.
—Not (exactly) comics: The Splitsider tells the story of the National Lampoon magazine.
—Not comics at all, except tangentially. Last week, a woman claimed that she was sexually harassed at a science-fiction convention by a prominent member of that community, and chronicled what happened when she tried to report him. The post went viral, which led to further developments. Seeing as comics is similarly dependent on a convention culture, this seemed worthy of note.
Hey it’s Friday and Tucker is back to enliven your weekend.
Rutu Modan has a Culture Diary up at The Paris Review.
The great Ron Rege is selling a print from one my favorite strips of his (which I also happened to publish 10 years ago).
I missed this Alex Dueben piece on Congressman John Lewis and his new graphic novel, March.
This is a day of missed: There’s a new book out edited by Charles Hatfield, Jeet Heer, and Kent Worcester? Sign me up.
Have a good weekend.
Today we bring you Robert Kirby’s review of the new Ulli Lust book, Today is the Last Day of the Rest of Your Life, which has proved itself very popular in my household. Here’s a bit of Robert’s review:
Thus begin her adventures as a 17-year-old Austrian punk rock girl ambling her way across Italy in the summer of 1984 with her newfound friend in tow, a tall, gangly girl named Edi. With no money or passports they forge ahead by sheer force of will, armed only with the invulnerability of the young and rebellious. Though Lust’s youthful exuberance and energy are severely tested by the inevitable pitfalls an attractive young woman will encounter hitchhiking in a country bound by traditional (i.e. highly sexist) cultural mores and traditions – and by the personal betrayals of certain fair-weather friends – this is no glib Live-and-Learn morality tale. One of the reasons the book is so successful is that Lust let the experience gestate over years, allowing for a certain distance and detachment. She captures perfectly and without judgment the complex social, cultural, and personal maelstrom she willingly entered into that summer, offering readers a wonderfully vicarious thrill in the process – especially readers like me, whose travelogues are generally limited to the “what I ate that time I went to Reykjavik” category.
I spent a very long day yesterday in Storybook Land, New Jersey, so may have been too discombobulated when I got home to recognize interesting news, but in any case I wasn’t able to find quite as many links as usual. Here’s what I’ve got:
—As you may have heard, a group of scholars have changed their minds about which is the first “true” graphic, now nominating something called the Glasgow Looking-Glass from 1825 Scotland (and thus prior to Töpffer’s Obadiah Oldbuck). Here‘s a selection of images from the publication.
—Hogan’s Alley has a ton of photos from the most recent Reuben Awards.
—A promotional video for Art Instruction, Inc. featuring a cameo from Charles Schulz.
The mark of strong critics is that you take their views seriously even when you most sharply disagree with them. Or as F.R. Leavis once said, the essential critical sentence is “Yes, but—“ There were many occasions where my own impressions diverged sharply from Kim’s. I’ve tried to like Dave Sim’s Cerebus because of Kim’s eloquent advocacy, but I’ve never been able to quite see in that work what Kim did. Kim was also dismissive of Jack Kirby’s 1970s work in ways that I thought were unfair. (! generational divide might be at work here. In my experience it helps to be born after 1965 and not grow up with Stan & Jack era Marvel comics to appreciate 1970s Kirby). The mental arguments I’ve had with Kim are as much a part of my education as the words he wrote.
And Chris Mautner brings us an interview with Carol Tyler.
Loss is a very big part of the book and I experienced loss while finishing the back part of the book. I think one of things I’ve learned this year — I’ve never seen anyone . . . I watched my mother die this year, being attentive to the end of her life and now my sister’s got this disease. When I drew “The Hannah Story,” I had just lost my job. The emotion of loss is powerful and one of things I recently come to realize. You actually do go through a period of mourning that’s physical.
There were lots of other losses too. In fact, last year was the suckiest year ever! I had to put my dog down. You name it. All the worst shit you could deal with I had to go through. Everything from my house being robbed twice to my daughter’s car being stolen. Justin & I got invited to [Europe] and I got sick on the trip. Some weird virus that lasted two months. Twenty-two days of fever and being bedridden, unable to move. I had a reaction to the virus and ended up with reactive rheumatoid arthritis. I couldn’t move. It traveled around different joints in my body. Couldn’t roll over. Couldn’t walk. I remember when I could finally move my foot one day, “Wow. There’s hope.” After the fever broke, I had lost 25 pounds and weighed 119. This was in November.
Ben Schwartz remembers Kim Thompson at the Los Angeles Review of Books.
And finally, an interview with Benjamin Marra.
Tuesday is the day before new comics come out, and Joe McCulloch has your weekly guide to the most interesting-sounding new releases.
We are continuing to add to our collection of tributes to Kim Thompson. New additions include those of Mike Catron, Helena G. Harvilicz, Gilbert and Jaime Hernandez, and Tony Millionaire.
We also have a ten-minute video from the 2001 San Diego Comic-Con, in which Gary Groth, Kim Thompson, and Mike Catron discuss the early days of Fantagraphics.
—Greg Hunter at Big Other reviews David B’s Incidents in the Night, and Impossible Mike at HTMLGiant reviews CF’s Mere. It’s nice to see some of the smaller literary sites engage with more ambitious comics instead of just slumming.
—Dan Clowes draws Chicago, and explains the picture.
—Mark Waid explains why he isn’t getting any money for the incredibly successful Man of Steel movie, which apparently uses some ideas from comics he’s written.
—I don’t advertise too many of these kinds of thing on here, but tomorrow Last Gasp is having a huge underground comics sale.
Today we have tributes to Kim Thompson from David B., Peter Bagge, Daniel Clowes, Al Columbia, Mark Evanier, R. Fiore, Sam Henderson, Paul Hornschemeier, Eric Reynolds, Joe Sacco, and Chris Ware. Here is Daniel Clowes:
Kim had, from my vantage, what appeared to be an enviable life: a happy home, and an unending pride in his calling. He was truly a gentle, kind soul, though he always thought of himself as a bit of a punk, I think. I don’t remember ever seeing him angry, and he treated even the lowliest of adversaries with good-natured acceptance. Dave Sim has probably lost his only sane defender. Kim knew he and Gary had done something beyond what anyone could have ever imagined and he seemed continually giddy over what turned out to be an astounding and indelible achievement.
And we’ve also dug up his original review of Ronin from The Comics Journal #82 (July 1983).
Elsewhere in comics:
And an interview with Jim Rugg by TCJ-contributor Chris Mautner.
Today we bring you Michael Dean’s affectionate, funny, moving obituary for Kim Thompson.
[Gary] Groth and Michael Catron had formed Fantagraphics in late 1974 and had begun editing and publishing The Comics Journal out of Groth’s apartment in College Park, Md., in 1976.
“Within a few weeks of [Thompson’s] arrival,” Groth said, “he came over to our ‘office’ — which was the spare bedroom of my apartment. It was a fan-to-fan visit. Kim loved the energy around the Journal and the whole idea of a magazine devoted to writing about comics and asked if he could help. We needed all the help we could get, of course, so we gladly accepted his offer. He started to come over every day and was soon camping out on the floor. The three of us were living and breathing The Comics Journal 24 hours a day, as scary as that might sound.”
Thompson not only stepped into the breach of the ongoing workflow, he bailed the company out of the first of its occasional financial crises by turning over a $1,000 educational nest egg from his grandparents. According to Catron, “I’m sure we were up to our eyebrows in bills as usual, and he offered to tap this fund to get us out of it. I’ve never thought of it as Kim’s buy-in of the company.” He was already working for free and when he perceived that the magazine needed the money to survive, he handed it over, no strings attached.
It was soon clear that Thompson had become an integral part of the Journal and Fantagraphics. Groth said, “At some point, maybe a year after he arrived, we simply gave him a third of the company. I remember the three of us discussing it in the living room of my apartment. He was putting in as many hours as we were and was as fully involved in the magazine as we were. He was, as [Joseph] Conrad, said, one of us.”
I met Kim Thompson a few times, but mostly only knew him through e-mail, and through the many, many amazing books he edited, translated, and/or championed. For the most part, it has been a wonderfully convenient thing that Dan and I have been able to edit this site from our homes on the East Coast, but at the same time, I have always regretted not being able to work with the team at Seattle more directly, especially Kim, one of my earliest publishing heroes and someone whose wise and cant-free advice and opinion has always been extremely influential on me; even when I disagreed with him I learned a great deal from how he expressed himself. I always assumed I’d have the chance to get to know him better. Over the past couple of days, as Dan and I have been exchanging e-mails with Gary, Kristy, and others back in Seattle about how to cover Kim’s passing, I kept irrationally wanting to wait and see what Kim would have to say…
Kim changed the life of everyone involved in comics for the better, in ways large and small, direct and indirect, and many tributes and remembrances to him have been published online. I am sure I have missed many, but a few that have stuck out to me include those of Blake Bell, Robert Boyd, Rob Clough, Simon Hanselmann, Charles Hatfield, Domingos Isabelinho, Jason, Chris Mautner, Heidi MacDonald, Dean Mullaney, Chris Oliveros, Ken Parille, and James Vance. This does not include the many words on Twitter and Facebook and other social media platforms, too many to sift through. It looks like Tom Spurgeon, who wrote some particularly touching words about Kim on Twitter himself, is collecting some of the most notable Twitter and Facebook entries here.
We are gathering tributes of our own to post on the site soon, as well as some of the highlights from Kim’s writing for the Journal over the years. In the meantime, a few examples were published on the old incarnation of this site: Kim’s excoriation of Don McGregor’s Detectives, Inc., and a roundtable on translation that he participated in. I also love this e-mail debate between Kim and Gary Groth over the merits (or lack thereof) of Dilbert, which is actually very revealing about the differing, complementary attitudes that made the Kim/Gary team such a formidable and well-rounded editorial collaboration. And it makes me laugh.
By coincidence, our other offering for you today is an excerpt from Incidents in the Night, the new book by David B., one of many cartoonists who Kim helped introduce into English. His legacy lives all around us.