Today on the site, Alex Dueben interviews David Small about Home After Dark, his recent followup to the very popular Stitches.
It started with my friend Mike telling me stories about his youth. Mike is my same age, so we both experienced the culture and the styles of the 1950s, but from different parts of the country, he from then-rural Marin County, just north of San Francisco, and I from industrial Detroit.
One morning, over coffee, Mike began reminiscing, in particular about one bucolic summer he spent with two buddies, all of them free of parental influence. They built a tree fort in the woods and, there, did guy things, smoking their first cigarettes, getting drunk, playing games in a junk-filled gully and hanging around the local soda joint watching the older teens, to see what lay in their future. To me all of this had a kind of legendary Huck Finn, quintessentially-masculine quality. I wanted to have been that kind of boy having those kinds of experiences, with that kind of freedom. So, I listened with a kind of hazy, inattentive envy until a little psychopath came into the story. At that point I sat up, paid closer attention, and taking notes. Because, I mean, who isn’t interested in psychopaths?
—Interviews & Profiles. Abraham Riesman interviews Nancy's "Olivia Jaimes."
About how long had you been putting comics online by the time you started doing “Nancy”?
I’ve been making comics in one form or another for so long. Ten years. Because, basically, as soon as I got on the internet, I just started putting things online. I mean, it might be like one thing a year. Not regularly, but for that long.
At what point in that ten years did it start to become an obsession where you started doing it pretty regularly?
I don’t know, maybe never. I mean, doing “Nancy” is the most regular I’ve ever been with comics.
That’s a big step up, if you’re all of a sudden doing a daily strip. How did you get from not doing “Nancy” to doing “Nancy”?
[Editor] Shena [Wolf] called me and was like, “Do you want to try out for ‘Nancy’?” And I was like, “Hahahaha, no way.” Not that I wouldn’t want it — it just seemed fake. And then I’m drawing the comics to submit for the test to be like, “Here’s a couple weeks.” And as I’m doing it, I’m like, “Hahahaha, no way, no way.” In a very Nancy move, it wasn’t like I was like, “No way they would pick me.” I was just like, “Obviously they would pick me, if they have any taste at all, because these jokes are so great.” But it didn’t really even feel real as I was signing the contract. I was like, “Hahaha, what a funny joke this is.” But, yeah, it worked out pretty good, and they’ve been really quite good in easing me into it, and giving me feedback, and having me go from not being a regular comic-maker to being “make one every day.”
The New York Times has an interview with Roz Chast, who has a new retrospective up in Manhattan.
The show includes some of the first cartoons you published, in a gay men’s magazine called Christopher Street, in 1977, right after you graduated from art school. How did you start publishing there?
When I got out of RISD [Rhode Island School of Design], I never thought I’d be able to make a living as a cartoonist. I didn’t really know where I would fit in: What I did wasn’t really underground, and it wasn’t really New Yorker-like either. I was living with my parents in Brooklyn, and I would take around a portfolio of illustrations. I got a bit of work, but I just thought, ‘God, I hate this.’ I didn’t want to be an illustrator. It’s going to sound so corny, but I was looking for some kind of sign. And then one day I found a copy of Christopher Street on the subway. I saw they used cartoons, so I called them up, and started selling them cartoons, for 10 bucks each.
The aforementioned Alex Dueben speaks to Ali Fitzgerald about her recent book, Drawn to Berlin.
A historical perspective is definitely necessary for understanding the complex political underpinnings of most countries, Germany included. For example, the rise of nativism in Germany is strongest in former G.D.R. areas, where the educational perspective on World War Two was not one of acknowledgement and atonement – students there were taught that the nazis were “other” while West German students used the word “we” when speaking about the atrocities of the Holocaust.
The fact of the matter is that Germany (and Berlin in particular) has always been a site of migration – and I use the journalism of Joseph Roth from the 1920’s to explore this in the book. A greater understanding of transience as cyclical allows us to have greater empathy for those fleeing war now.
The Jewish Ledger profiles Liana Finck.
Her latest book, Passing for Human, is more personal, a “graphic memoir” in which she focuses on the experiences of the women in her family. In the whimsical yet serious memoir, each woman is born with a shadow that guides her life. But as they age they eventually lose the shadow. The book, published in September, features a main character, Leola, who looks for her own shadow and the shadows of her female relatives.
“It’s half about me and half about my mom, and the thing we have in common is that we are women and we are artists, so that’s what it’s about,” she says.
—RIP. The creator of SpongeBob SquarePants, Stephen Hillenburg, died this week at the age of 57.