Today we present the prolific New Yorker cartoonist Emily Flake’s interview with the inimitable Glen Baxter, who has recently released a collection of his work through New York Review Comics.
I was really blown away by the collages of Max Ernst: spooky, haunting, absurd. All these old steel engravings from the Victorian era with a magisterial authority subverted by the artist. THIS is what I wanted to do — but Ernst had already done it, so how to proceed?
[…] I had been collecting loads of old children’s adventure stories, partly because they were inexpensive and had beautiful color covers. I did this by trawling boot fairs (yard sales) and picked them up for a song because nobody else wanted them. Max Ernst did exactly the same thing with the steel engravings, picking them up at flea markets in Paris for next to nothing.
—Interviews & Profiles. The San Francisco Gate profiles Maxon Crumb.
Judging by his appearance in “Crumb,” Terry Zwigoff’s 1995 documentary about an artistic and deeply troubled family, Maxon Crumb didn’t seem long for this world. The younger brother of underground cartoonist Robert Crumb was filmed in his seedy hotel room, sitting on a bed of nails and begging for money on San Francisco sidewalks. He looked haunted, spiritually ransacked — done in by the family abuse that drove his oldest brother, Charles, to suicide.
Twelve years later, Maxon Crumb still resides in the same Sixth Street dump, and still maintains an extreme spartan diet — “only plant food” — and an ascetic spiritual practice that includes long, holy-man treks to Bolinas Ridge, where he sits in lotus position for 12 hours at a time. But in the years since “Crumb” was released, he is no longer dependent on government assistance and has stopped panhandling and started supporting himself with his art. His paintings — more intricate, surreal and disturbing than Robert’s antic work — sell for as much as $3,200; his ink drawings go for $1,200.
—News. The CBLDF has gathered and summarized recent news on the post-coup media crackdown in Turkey, including a banned issue of the satirical magazine LeMan.
Unsurprisingly based on Erdoğan’s past record, the crackdown has also deeply affected the press: 34 journalists had their credentials revoked, and the satirical magazine Leman was yesterday prevented from printing a special post-coup edition with a cover cartoon suggesting that the government deliberately pitted civilians against the military plotters.
—Reviews & Commentary. Tom Spurgeon’s been running new reviews all week, including this take on Tim Hensley’s Sir Alfred No. 3.
I don’t think I’ve enjoyed a comic in some time as much as I took pleasure in Tim Hensley’s beautiful, accretive biography of Alfred Hitchcock, Sir Alfred No. 3, built from casual anecdotes and ridiculous stories from the director’s colorful public profile along with whatever racy filmmaking storie fit the same general tone. Hensley’s style isn’t as perfectly suited to the kind of biographical comic he’s aping here as it was to the teenager books being examined in Wally Gropius, but his flat, colorful art is beautiful, and the whole project evinces a kind strange sumptuous based on presentation and style that stands in constant, funny contrast to the sheer squirrelly nature of every single character moment as revealed.
—Misc. Letters of Note has published a pretty charming exchange of correspondence between Alan Moore and a nine-year-old fan.
The first book I saw was V for Vendetta which has a brilliant storyline and is very cool when he blows up Parliament. I also love his awesome mask. Watchmen was the second, so far the best book I have ever seen – Rorschach is my favourite character, then Dr. Manhattan, lastly the Comedian. I like the way he uses a flamethrower as a cigar lighter and a smiley face for a badge. My third favourite was the League of Extraordinary Gentlemen. I like the way it’s more like a book because it has lots of writing in it and I also like the things that they have collected. All in all you are the best author in human history. Please write back.