Yesterday, we published Alec Berry's update on the ongoing Cody Pickrodt defamation case. A judge in the New York Supreme Court recently dismissed eight of the case's eleven defendants.
Almost sixty days after his review began, Judge Thomas Feinman of the New York State Supreme Court, Nassau County, chose to dismiss eight of the eleven defendants named in small-press publisher Cody Pickodt’s $2.5 million defamation lawsuit.
Laura Knetzger, Emma Louthan, Emi Gennis, Ben Passmore (cartoonists); Josh O’Neill (publisher); Rob Clough (critic); Jordan Shiveley and Tom Kaczynski/Uncivilized Books (publishers and cartoonists) are all, seemingly, free and clear.
Their lawyer, Aurore DeCarlo of C.A. Goldberg, said she doesn't know if Pickrodt, via his lawyer Joe Carbonaro of Carbonaro Law, will appeal the decision. She hasn’t received such notice. But she believes the statutes of limitations have passed for any additional civil lawsuits Pickrodt could file in states other than New York, and she knows for sure he cannot pursue new legal action there.
Carbonaro, in a brief statement offered to The Comics Journal, seemed to let the matter lie by providing some analysis of the judge’s decision. He then opted to look ahead, knowing three defendants still remain. They are Whit Taylor, Hazel Newlevant, and Morgan Pielli.
Daniel Elkin turned in a review of Julia Gfrörer's Vision.
In tight, thin lines that fill nine-panel grids, Julia Gfrörer’s comics explore the realms of horror and the erotic lives of women and finds, in the intersection of the two, a new sort of agency that borders on empowerment but is often subsumed in some darker truth -- that feminine sexuality and the procreative power of women are potent and raw forces that, having been confined and shamed by a male-dominated social order for so long, manifest as an assertory, supernatural agent of change.
Her latest 24 page, black and white mini-comic, Vision Part One, continues in this vein. Gfrörer pitches the plot as “a Victorian spinster escapes the demands of her invalid sister-in-law through a sexual relationship with a haunted mirror,” and by doing so firmly cements it in all of her themes: horror, the constraints inherent in the constructs imposed on womanhood, the desire to escape, and desire itself. The tension that Gfrörer creates by juxtaposing all of these ideas makes everything taut and tight, and her artwork only enhances this rigidity. At times, Gfrörer’s pages are overwhelming, images so dense with crosshatching that they become claustrophobic, seemingly straining to break out of the nine-panel grids in which she imprisons her work. Through these artistic choices, Gfrörer compels a reader to feel her storytelling as much as bear witness to it.
Today, Patrick Dunn talked to writer Vivek Shraya about her recent autobiographical comic, Death Threat.
Patrick Dunn: I want to start by asking you about these messages themselves. While awful in content, of course, they have this weirdly unique voice to them. What was it about them that made you want to turn them into a book?
Vivek Shraya: Well, as you’ve read and noted yourself, they’re not your typical kind of hate mail [laughs]. As a trans person, I get trolled on the internet like anyone else and I just mute that or block it. I don’t really engage. But there was something about the ways that these messages use cultural language, religious language, and familial language — like talking about my mom — that made them quite hard to ignore. I’m sort of forced to picture them in a way. Simultaneously, I’d been reading a lot of graphic novels, so when I pictured these letters, they were very illustrated and detailed. I think that it was the timing of the letters with reading graphic novels. I was like, “Oh, I think this is a comic book.”
What graphic novels were you reading at the time? What was on your mind?
I’m a huge Michael DeForge fan. It’s largely his work that I had been taking in. I think I had finished reading Sticks Angelica, but, before that I had read Big Kids, which I loved so much. He’s certainly a huge inspiration for me in terms of thinking about the world of graphic novels. To be honest, it’s not a world that I know particularly well or understood, even. You know, I come from a more literary background where there’s certain conventions that are ascribed to. Even as a pop musician, there are these limitations that you have to work with. But in graphic novels and comic books, especially the stuff that Michael’s doing, it seems like pure freedom in a lot of ways. So I think that’s what really excited me about the medium.
—News. This year's Doug Wright Awards were announced at TCAF last weekend. The winners include Hartley Lin, Ariane Dénommé, and Xiaoxiao Li.
—Reviews. Paul Morton reviewed Saul Steinberg's Labyrinth.
SAUL STEINBERG CALLED HIMSELF “a writer who draws.” Harold Rosenberg called him “a writer in pictures.” Critics compared him to Klee and Picasso, but reviews were just as likely to namedrop Joyce and Stendhal. He was friends with Nabokov as well as Saul Bellow, Primo Levi, William Gaddis, Donald Barthelme, John Hollander, Charles Simic, and Ian Frazier. Ulysses was his favorite novel. Nabokov’s essay on Gogol was his guidebook.
The tendency to think of Steinberg as a literary figure comes as much from his self-definition as it does from his identity as a New Yorker illustrator. His drawings would sometimes take up two-page spreads. Others would be wrapped by the text of a short story or a slice-of-life sketch. In this way they became another story to be read, one composed in an immigrant’s visual patois. (Steinberg grew up in Romania and studied in Italy before coming to the United States during World War II.) We read Steinberg’s wayward lines signifying nothing, his wispy depictions of Midwestern townscapes, his heavily inked Upper West Side partygoers. This approach raises questions. Is a Steinberg drawing a sentence in Lolita, a page in Ulysses, or one of Barthelme’s sit-down comic riffs? Are any of these images as thick and complete as a good paragraph? And if so, are we supposed to spend as much time studying every turn and every oddball gesture as we do rereading Lolita, intent on getting every joke in every word?
—Interviews. Martin Dupuis talks to designer Chip Kidd about Frank Miller's Dark Knight Returns.
What’s your favorite page in TDKR and why?
Well, in the interest of full disclosure, I own the originals to pages 11 and 42 of Book 3–they are framed and on the wall of my apartment, and I look at them every day. And they are signed to me by Frank, so they have deep meaning for me.
Are there any details that stick out as interesting, or telling about Miller’s process in them when looking at the original art?
There are several things–first, the use of paste-up photostats. Especially on my page of issue #3. Dialogue that was added later– “That’s right, Joker,” “WASTE those bullets”, do not appear on the original, but the other dialogue does (‘Watch your language, son…”). The last two panels of that page are stats, as is some of the sound effects (BLAM!!), and who knows where the originals are, or why they changed, or from what.