BLOG

Has the Three-Day Weekend Started Yet?

It’s coming up on Memorial Day here in the States, so we’ve got a meaty article to keep you going over the weekend, an excerpt from TCJ columnist Jared Gardner’s recent Eisner-nominated book, Projections. Among other things, this chapter features the now-little-known debate between Wonder Woman creator William Moulton Marston and Cleanth Brooks (!) in the pages of The American Scholar. A taste:

In the next issue of American Scholar, Cleanth Brooks and his Louisiana State colleague Robert Heilman responded with a long, facetious account of their sudden conversion to Marston’s philosophy in their literature classes, claiming that they now will even employ models dressed as Wonder Woman to help illustrate their lectures and demonstrate female superiority. Brooks and Heilman maintain their deadpan approach throughout their letter, expressing their gratitude to Marston for inspiring their “conversion” to comics over traditional literature, and they conclude by calling on Marston and the editors of The American Scholar “to tell us more about the comics by means of comics”—even offering to furnish the editors with the zinc plates necessary to transform the journal into a comic book: “We are sure that there are literally thousands of Phi Beta Kappas who will happily contribute their keys, if need be, to bring the power of the ‘visual image’ to the aid of puny reason in the great fight to save the humanities to which we are all committed.”

And then of course, it’s Friday, so Tucker Stone is here (along with friend Abhay Khosla), with another hair-raising look at the commercial dregs of the industry.

Elsewhere:

—First Flannery O’Connor is outed as a closet cartoonist, now this. Maria Popova takes a look at Gertrude Stein’s forgotten picture books.

—Daniel Clowes talks to Wired about his aversion for digital comics.

—With this article on the history of gay characters in supehero comics, Alex Pappademas shows that his excellent Stan Lee profile at Grantland was not a fluke, and apparently they’re going to be featuring intelligent comics coverage on at least an irregular basis.

—Leonard Pierce has a good response to the recent Scott Kurtz anti-Kirby diatribe (which previously I felt was too moronic even to mention).

—Rob Clough surveys the current state of comics for children.

—I keep forgetting to link to this really great audio interview with Bill Griffith recorded by Benjamen Walker at WFMU. (You may remember his Chester Brown interview from last year. If not, check it out, too.)

—And finally, I missed this before, but Tom Spurgeon caught a fascinating article on Roy Lichtenstein and comics, featuring Hilary Barta among others. I wish someone would write or edit a book on this subject.

 

Fry Pan

Today on the site:

Michel Fiffe on the idea and history of one-man anthology comics:

As if it wasn’t enough that comics are the domain of the obsessive control freak, there is a cartooning sect that perfectly defines the creative mania responsible for some of our greatest works: the one-man anthology. It’s a publishing sensibility that may have had its moment in the sun decades ago, but it’s never really been a dominant point of interest for cartoonists.

And I’m really pleased to welcome Sean Rogers back to the site with this incisive review of the new Nancy collection:

Certainly, the comic’s self-contained gag-a-day format, along with the clarity and force of Bushmiller’s compositions, can often make each strip seem like an instance of emphatic singularity, a totem to be worshipped in dumb awe. But Nancy is Happy returns to this gag-a-day strip precisely its daily qualities, so often overlooked. There is, we rediscover, an aspect of the quotidian to Nancy, a rhythmic unfolding in time, an ordinariness repeated with such unrelenting frequency that we’ve opted to shunt it into the sublime. Reading Nancy in continuity, rather than in isolation, may be an unfamiliar experience, but it is one which reveals the strip’s patient and inquisitive reaction to the bric-a-brac and ins-and-outs of everyday life—an attentive curiosity whose effect is diminished by removing the comics from their daily or weekly contexts.

-From Forbidden Planet comes word of an Oliver Schrauwen exhibition in Antwerp.

-From TCJ-contributor Tucker Stone comes word of a Suicide Squad celebration by the aforementioned Michel Fiffe.

-From yet another TCJ-contributor, Matt Seneca: This week’s Greatest Comic of All Time.

-From me to you: Oh those little wise guys!

 

Warped Marionettes

Today on the site, Hayley Campbell returns after a too-long absence to interview Tom Gauld, the cartoonist behind the new graphic novel, Goliath. Here’s Gauld on adapting the Bible:

I don’t have a religious faith, but I’m interested in the Bible because the stories are such well-known, common parts of our culture. A few years ago I did a version of the story of Noah (for Kramers Ergot 7) and I liked that I could rely on the reader’s knowledge of the story, and play with their expectations. That story was one of the things which led me to do Goliath. I didn’t want my book to be anti-religious, or even to paint David as a fraud or a villain, but the God (or maybe just strong religious faith) which makes David so powerful is definitely not there for Goliath.

We also have a review from the indefatigable Sean T. Collins, who reports in on the latest release from the Closed Caption Comics group, Molly Colleen O’Connell’s Difficult Loves:

O’Connell’s weapons of choice are perspective and detail, throwing enough conflicting examples of both at you at once to make each turn of the page a “wait, what?” experience. Her characters limbs elongate at odd points so that you’re never sure exactly how large their bodies are in relation to their environments — is this some weird, deliberately inconsistent use of foreshortening, or are they just built like warped marionettes?

Elsewhere on the internets…

—Okay, easily the link of the week comes from Gene Deitch, who writes at length (and with copious illustrations, videos, and archival evidence) about his experiences adapting Maurice Sendak’s Where the Wild Things Are into a short animated film.

—Your Alison Bechdel link of the day comes from Ng Suat Tong, who focuses in on the psychoanalytic content of Are You My Mother?, which is sounding more and more fascinating as the reviews come in. As Dan mentioned yesterday, our own coverage will be coming soon.

—Nick Gazin interviews Diana Schutz about working with Milo Manara in his latest Vice column. (He also falls for that Jack Kirby Spider-Man image hoax, so caveat lector.)

—I missed it on Monday, but the great Bob Levin wrote about his heart attack for the Broad Street Review.

—I also missed the Chicago Tribune‘s excellent coverage of last weekend’s “Comics: Philosophy & Practice” conference.

—The outrage of the moment just over came when McSweeney’s announced a cartoonist contest, which would award a $500 prize to the winner, in exchange for two cartoons a month. This sparked something of a revolt online, mainly from cartoonists concerned about what they perceived as exploitation, which eventually led to McSweeney’s apologizing and canceling the contest. This seems worth mentioning after the fact, if only for taking note of changing comics-community standards, and the force an internet-focused protest can have, at least when aimed at a smaller, community-minded organization.

—Finally, there’s apparently some kind of TV and tabloid frenzy going on over the fact that a few characters at DC and Marvel are about to be revealed as either gay and/or getting married while gay. I wonder how many times those companies can get PR mileage out of this kind of thing; it feels like they’ve already done this multiple times, but the media’s obviously still buying. In the meantime, someone should tell the New York Times about Maurice Vellekoop.

 

Down the Avenue

On the site today we present the entire Alison Bechdel interview by Lynn Emmert from TCJ 282 (April 2007). We’ll cover her new book, Are You My Mother?, shortly. For now, enjoy this comprehensive conversation. As ever, Joe McCulloch treats us to the new, the newsworthy and the necessary (to some).

Joe has also apparently been holding out on us. Here’s proof: A blog post described as follows:

Being a series of comments on Episode 0.1 of Comic Books Are Burning In Hell, a podcast by Matt SenecaTucker Stone and myself.

Is this mutiny? We’ll work to bring you the answer.

Frank M. Young delivers unto us answers about John Stanley in reference to questions you didn’t know you had, and we should thank him for that. This kind of deep comic book archeology is needed. It gets to the weird smudgy bottom of aesthetic developments. So here’s Young on proto-Tubbys.

Here’s a funny thing: A group of documents containing an alternate plot point for The Little Prince was recently sold at auction. It sounds interesting:

In this version of the story, after visiting six planets, the little prince arrives on an alternate-reality earth. One particular line reads as an homage to the melting pot of New York City: “If you brought together all the inhabitants of this planet close together as if for a meeting, the Whites, the Yellows, the Blacks, the children, the elderly, the women, and the men, without forgetting a single one, all of humanity would fit on Long Island.”

Not comics, but TCJ: Tim has a great short interview with novelist Richard Ford, whose new book I’m greatly looking forward to.

And finally, in case you missed it: Chris Ware’s Building Stories is going to be an incredible object.

 

Ain’t No Mountain

R.C. Harvey profiles V.T. Hamlin, creator of the classic caveman comic strip Alley Oop. An excerpt:

Hamlin kept up a merry round of madcap adventures in Moo for the next five years before beginning to feel constrained by the narrow range of story possibilities imposed upon him by his chosen locale. Then Dorothy again supplied a vital prompt: remembering a story her husband had written in high school, she suggested introducing a time machine. If Alley Oop and Ooola could travel through history, stopping here and there wherever a good story seemed likely, the story possibilities would be limitless.

Hamlin’s interest in prehistory had by this time broadened considerably into ancient history (as it would eventually into all history), and time travel enabled him to pursue this interest in the strip. He went to the syndicate editors in Cleveland immediately and, after “the best part of a week” of persuading and pleading, got permission to change the strip, a violent wrench of a change, something no other strip at the time had managed.

On April 6, 1939, Oop and Ooola suddenly fade from our sight in the Moovian jungle; and two days later, they materialize in the laboratory of a twentieth century scientist, Elbert Wonmug (a punning last name celebrating science’s most famous theorist, “en stein” being German for “one mug”). Wonmug has invented a Time Machine, and, seeing the rugged resourcefulness of the prehistoric pair, he subsequently sends Alley and Ooola on “fact-finding” missions through the ages: they become time travelers and have adventures in every famous epoch in history.

Frank Santoro’s back in Pittsburgh right now, and shares Bill Boichel’s new theory about Frank Frazetta.

And Jeet Heer reviews the new IDW collection of Otto Soglow comics. I’m kind of surprised I haven’t heard more about this book. Soglow is hilarious. Here’s an excerpt from Jeet’s review:

One of the great strengths of Cartoon Monarch is that it gives us a very generous sample of Soglow’s work from many facets of his career so that we can see that the clear line style was a hard won victory for the cartoonist. Rather surprisingly, Soglow started off as a student of such Ash Can School masters as Robert Henri, George Luks, and John French Sloan. Like them, he specialized in charcoal-dark representations of urban squalor (some of which appeared in radical publications like The New Masses).

Soglow’s move to the clear line wasn’t a complete break from his earlier art since he continued to do anecdotal art about urban life, but his art started to become more line-focused and less shadowy as he became a fixture in The New Yorker, where the Little King first appeared in 1930. I’d speculate that Rea Irwin was an influence. Contractual wrangling with the New Yorker seems to have prevented Soglow from immediately moving the monarch to newspapers when the Hearst Syndicate hired him in 1933. As a stop-gap measure, Soglow created The Ambassador, who was the Little King in everything except title and facial features (the Ambassador had a bulbous nose and a walrus moustache).

Elsewhere on the internet:

—Your regular dose of Alison Bechdel profiles/interviews can be taken at both The Guardian and Comic Book Resources.

—By all accounts, the star-studded, Hilary Chute-organized “Comics: Philosophy & Practice” conference held this weekend at the University of Chicago was a huge success. Many of you hopefully found some time this weekend to watch the live streaming video of various panels, but if not, know that many of them will soon be archived at this page at the Critical Inquiry site.

—Creators’ rights issues make their way into the Washington Post by way of Michael Cavna’s interview with Roger Langridge about his decision to no longer work for Marvel or DC.

—Joe Sacco has a short story, “Kushinagar”, in the New York Review of Books(!). (Am I right in thinking this is the first comic strip ever published in that magazine?)

—Talking to The Guardian, Dan DiDio tries to justify DC’s decision to create Watchmen sequels, and responds to Alan Moore’s stated opinions on the matter: “Honestly I can understand why he [Moore] might feel the way he does because this is a personal project to him. He has such a long and illustrious career and he’s been able to stand behind the body of work he’s created. But quite honestly the idea of something shameless is a little silly, primarily because I let the material speak for itself and the quality of the material speak for itself.”

—Ron Goulart takes a look at Jack Cole’s Betsy and Me.

—Tom Spurgeon interviews Faith Erin Hicks.

Conan artist Ernie Chan passed away last Wednesday.

—Jason Thompson’s manga column, always worth reading, concerns Cromartie High School this time around.

—And finally, assuming those of you who are interested didn’t already see this at one of the many, many places that linked to it over the weekend, Neil Gaiman gave the commencement address at the University of the Arts:

 

Cattle Call

Welcome to the end of the week. We are veritable volcano of content today, all crammed in on this mid-May day for a variety of time-based reasons.

First let me say this:

If you are a TCJ print subscriber and would like unlimited access to the online archive, please e-mail our customer service department: fbicomix@fantagraphics.

Please put “TCJ Online Archive” in the subject heading and request unlimited access to the archives in the body of the message. Also, please include your name, username and e-mail address (if you’ve already made an account; if you haven’t, an account can be created for you).

If you have questions about the above, do not post them here. Rather, email the above address. Thanks!

And now, on the site today we have Tom De Haven‘s commencement address for the Center for Cartoon Studies. Thanks to James Sturm and Michelle Ollie for this. Tom discusses his own comics education, as well as that of others, and drops this fine story:

The lessons of the Famous Cartoonists School were written by (or ostensibly written by) such luminaries as Al Capp, Milt Caniff, Rube Goldberg, Willard Mullins, Whitney Darrow Jr., Gurney Williams and Virgil Partch. Of course, I sent away for the informational material, but the cost was prohibitive. My mother worked in a bank and brought home less than $45 a week.  It was crushing blow, although (and this such was a wonderful thing, for which I’m still grateful) my mother looked around on her own and found a far less expensive illustration and cartooning home-study course, the Washington School of Art, out of Port Washington, New York. And she signed me up for it. Twelve booklets and an impressive, to me, box of supplies consisting of two pencils, one brush, one pen staff with three different nib points, a fabulous soft blue eraser, a few charcoal sticks, a Conte crayon, a bottle of ink, and a T-square. I  took that course, imperfect as it was, and I wish I still had all my returned artwork with their taped-on see-through overlays with corrections made in red pencil. Unfortunately, for me, only two of the lessons pertained specifically to making comics, but even so, it was realinstruction–and there were real teachers telling me what I’d done right, and what I’d done wrong and how to correct it.

In less happy news, Steve Ringgenberg contributes an obituary of Tony DeZuniga. Additionally, we have Brad Mackay on The Art of Daniel Clowes and, as ever, and thank heavens, Tucker Stone on the global comic book trend.

I suppose it’s possible you will want to go elsewhere for yet more comics content, in which case you might  be overdoing it. Still, I feel compelled to guide you:

Is there anything more awesome than a Gilbert Hernandez comic book called Fatima: The Blood Spinners? Of course not. Read what the man himself has to say about it.

Thank you, Warren Ellis. Keeping it real.

I also love Frank Robbins. In fact, I love the whole dang Caniff-school of comic drawing. Lee Elias, William Overgard, et al. So good. But Frank Robbins in the ’70s was hallucinatory and great. Milo George has a great appreciation here.

Oh, and I can’t believe I’m missing this. Luckily we have embedded a TCJ correspondent on the ground to bring back all the dirt.

 

Book ‘Em

Today, R. Fiore returns to our shores with a report on graphic novelist/animator Mark Kalesniko, as well as an extended look at the history of animated film by way of UPA. An excerpt:

No one who’s seen the internal strife on the macro level portrayed in the documentary Waking Sleeping Beauty would doubt the verisimilitude of the fictional office politics on the micro level of Freeway. Kalesniko never quite puts his finger on the factor that made for the difference between in animation from the 1930s through the 1950s and of today, and that is the phenomenon of seven minute theatrical animated short subject. The contemporary animated feature is a massive undertaking along the lines of an aircraft carrier or a cathedral. Each individual picture is a do or die effort costing in the hundreds of millions and needing to rake in hundreds of millions more to pay out, and a failure can crush the career of the people in charge. Even the vaunted Pixar will pull a project out of the hands of the director who instigated it if the investment appears threatened. Feature length requires characters who engage the emotions of the audience in a way that throttles the anarchic spirits of the form.

Elsewhere, there are many things to read & ponder.

Journal columnist Tucker Stone reviews Jean-Perre Filiu & David B.’s Best of Enemies: A History of US and Middle East Relations, and at the Los Angeles Review of Books, Sarah Boxer writes about George Herriman’s Krazy Kat (and explores why critics have had such a hard time talking about it).

—ICv2 has an interesting three-part interview with Image publisher Eric Stephenson about everything from digital publishing to creators’ rights. (“If Image comics had been around when Allen Moore and Dave Gibbons wanted to do Watchmen, they would have had someplace else they could have gone to do that type of work. The situation that developed out of what did or didn’t happen with those contracts would have been irrelevant because they would have had a deal that offered them 100% creator ownership.”)

—Speaking of creators’ rights, the recognition of Jack Kirby’s accomplishments in mainstream media continues to slowly grow, with an article yesterday in the Wall Street Journal, featuring input from Glen David Gold and Rand Hoppe.

—People seem to really be enjoying this “oral history” of DC’s semi-recent series Countdown to Final Crisis, but I found it too depressing to get very far.

—Blown Covers posts the old form rejection letter from RAW, which is amazing.

—Milo George inaugurates a series at Study Group honoring Dennis the Menace artist Al Wiseman.

—Boing Boing has a nice short profile of the Herblock Prize-winning political cartoonist Matt Bors.

—Have we already mentioned the “master class in comics narrative” Paul Karasik is going to be teaching in Vermont this August? If not, we should have.

—Closed Caption Comics has the penultimate TCAF report, with karaoke photos. Chris Butcher has the ultimate one.

—Steven Brower takes a look at changing reproduction strategies for reprinting old comics.

—And finally, Robot 6 has found something of interest for 20th Century Boys fans: Naoki Urasawa singing “Bob Lennon”.

 

Commentary

Today on the site:

One of the great comics historians, Ron Goulart, begins a new column for us. Remembrance of Comics Past will feature Ron’s correspondences with cartoonists, beginning this week with Howard Sherman. As he explains:

Over the years I persisted, writing to comic strip artists, comic book artists and a few sports cartoonist. I heard from Bill Everett, Bob Lubbers, Will Eisner, Bart Tumey, Norman Maurer, Frank Godwin, George Storm and a host of others. Being a packrat by nature, I held onto the all the letters and drawings that I got. Tacked many of them on my bedroom walls, until I moved across the Bay to play the ad game at a San Francisco agency when I was 22. By the time I left advertising in the late 1960s, I had gathered a substantial collection of letters.

It’s an honor to have Ron aboard.

And Brandon Soderberg reviews the new Conan the Barbarian series from Wood and Cloonan.

Elsewhere:

-A very intriguing account of stolen Joe Simon art.

-Drew Friedman opened an art show in Brooklyn.

-I agree, this is a gorgeous comic book cover.

-Jack Kirby: Dance!

-The time NYC was briefly not in love with Milton Glaser.