Vintage Derf zine interview.

Derf - White Middle Class Suburban Man

Sometime back in the early 2000s, I conducted an email Q&A with John Backderf for an online zine I used to run. As is the nature of such things, the zine is now long since defunct, consigned to the dustbin of digital history. But! Rereading the interview for the first time in forever, it’s actually aged fairly well. Which is not that surprising: John Backderf is an interesting guy, with a lot of interesting work to his name.

Anyway, I thought it might be worth reposting.

So, for purposes of historical interest, here follows two screenshots of the original post, then the interview.

Note: Please excuse the odd outdated cultural reference (does anyone remember that Mercedes ad set to Janis Joplin? Or Fabio, for that matter?) and the youthful earnestness (and occasional ignorance) of the questions.

Attempting-to-be-hip early 2000s web design. If you’re having trouble getting a layout to work, stick it in a pop-up.
I once got an email from Jim Woodring telling me he couldn’t read the tiny font sizes I used for content. Now, at 40 years old, I can’t either. Sorry, Jim.

The Interview.

Q: You’ve certainly caused a lot of controversy in your time. Offending almost every shade of closed minded individual: Christians, concerned mothers, Republicans, Democrats, Caucasians, footballer’s, Fabio supporters – and so it goes on. What’s your secret? I mean you’ve gotta be tapping into some long ignored corner of the mass ‘suburban psyche’ to get such a reaction?

A: Well I’m a product of the burbs. I grew up in a small Ohio farm town that, by the time I left for college was being overrun by housing developments. There aren’t a lot of people doing stuff on the burbs either… Y’know, in a way that states “hey, this is a pretty screwed up way to live.” Most regard that as blasphemous. Many just don’t see it. They think they’re living in a fucking paradise. That’s really the whole premise of White Middle Class Suburban Man. The poor fellow is too delusional to realize what a soulless dump it is he lives in. I also appear to have been born with the gift of really pissing people off. It first manifested itself in high school when I was foolishly asked to draw the stars of the football team for a pep-rally banner and rendered them all as Neanderthal trolls with overhanging foreheads. I had to dodge angry jocks for weeks after that. Since that time, at least once a year I do something that gets me in hot water. In college, another cartoon on a football star, one who got in trouble with the law, kicked up such a fire-storm I actually had to flee town for a week until things cooled down. And, y’know…. I never see it coming. It’s always the cartoons I think are completely innocuous that get me the most shit. Other pieces are just notorious right from the concept, like the Young Jeffrey Dahmer stuff. People object to its existence in principle… without ever actually bothering to read it and discover that it’s not what they think it is.

Q: I know that what happened to you with Jeffrey Dahmer would’ve had quite an effect on me. Was doing ‘Young Jeffrey Dahmer’ almost a cathartic experience for you?

A: No. Not really. When the news first broke about Dahmer… when was it? 1990? 91?… I was plenty freaked out. You just can’t imagine what it was like. But the first chapter of Young Jeffrey Dahmer wasn’t published until five years later, well after he was tried, convicted and killed in prison. So I had plenty of time to process it and get it straight in my head. I just finished the last two chapters, so that’s a six-year gap there. I’m shopping it to publishers now. If no one will print it, I’ll publish it myself and sell it on the website. But it WILL see print this year. Actually, working on the piece was both unsettling and oddly sentimental. Sentimental because I was drawing people and places from my youth. I admit to having fun compiling reference photos from the time and re-creating my home town, the interior of my high school, the mall, my boyhood friends…. I focused on that and it took my mind off all the very disturbing elements of the story, which obviously there are many. It was the writing of it that was the hardest. And finally I just sat down and scrawled it out in a day. It came out very quickly and needed almost no revision. Those who read it for the first time (chapter 1 is on the site) are always surprised there’s no gore, no deviant sex, no graphic depiction’s of any kind. That it’s a haunting, thoughtful account of how a troubled kid was allowed to spiral into madness. People are also quite surprised that I paint Dahmer as a tragic figure. But that’s what he was when I knew him. He didn’t have to become a monster. He could’ve been helped… at that point anyways.

Q: In a previous interview you mentioned that you had no delusions about changing the world. Well – the way I see it, when someone gets offended at least it’s proof of some form of mental arithmetic taking place (for better or for worse). So even if you’re just presenting people with the ‘opportunity’ to suddenly say : damn -bugger the lawn – there’s got to be another way. Isn’t it worth it?

A: Generally speaking, I believe I’m mostly preaching to the choir. The vast majority of people who read the papers my cartoon appears in, the free weekly city papers here in the states and in Canada, are youngish urban dwellers with a left bent. So we’re all of a similar mind to start. There are some right-wing blowhards out there who read the papers only to “monitor” the content. They’re the ones I usually hear from.

But I just don’t believe cartoons have the power to make or change opinion. Nor do I really want to. I wanted to when I was young and stupid but long ago left that behind. Besides, the world is becoming more and more rigidly divided. Or, at least this country is and, since we have all the guns, we’re the ones that count. My recent cartoons on our new President have generated some unbelievable letters… most, hilariously… full of grammatical and spelling errors. All because I make fun of some doofus frat boy whose party managed to steal an election? C’mon. And, of course, we’re so simple-minded in America that these people think I’m a Gore supporter just because I make fun of Bush, when the truth is I couldn’t stand EITHER of the bastards. As for changing the world…I’m really just in it for the laughs, man. I figure if I can make someone chuckle for a minute or two once a week then, hey, that’s not such a bad accomplishment is it?

Q: I see the recent US. election as evidence that the notion of the American Dream has indisputably gone belly up, bobbed to the surface and swelled in the midday sun.

A: Well…It’s my contention that happened long ago. Reagan, Clinton, the Bushes…. every one of them sold out the common man. Perhaps Clinton worst of all, because he was such a hypocrite, pretending to be the defender of the average joe while giving the capitalist machine whatever it wanted. But Dubya is really the first president entirely bought and paid for by corporate interests. He should have a bar code tattooed on his forehead. And the American Dream has, at best, only ever worked for a relative few. This recent post-election debacle could have been worse, of course. There was no violence in the streets as opposition groups clashed. I was actually a bit surprised there wasn’t, given the rancor. The fighting was restricted to the courtroom as lawyers duked it out and on the airwaves as the spinmeisters battled for the upper hand. Lawyers and spin… THAT’S the American Way.

Q: You’ve called the ‘Suburban Plague’ the most destructive cultural movement in the last 50 years. What steps do you think could be taken to try and take a big chip out of the status quo? To present and promote alternative outlooks?

A: The key is some sort of regionalism where communities work together to preserve green space and farms and put an end to, or at least slow, sprawl. There are places– Oregon, for example– where they’ve had some success with it. Certainly, in Europe they do it very well. But not any place I’ve lived, unfortunately. Florida, where I got my start as a pro cartoonist, for instance, really just needs to be sawed off at the panhandle and allowed to drift away. There’s no saving it. I live in Ohio now and it’s shocking how much farmland has been lost. That farm town I grew up in is now covered with $1-million homes. Fucking yuppies covering the fields with giant monuments to excess. The eventual solution? We just have to use our brains… which means there’s probably no hope.

Q: O.K. Lets take a look at the worst case scenario – If nothing changes and things carry on in the direction they’re currently going, where do you see humanity in say 50 years time?

A: Hard to say. The population in America is not expanding. There’s just more people taking up more space. Who could’ve predicted what we’ve got now? I recall futurists in the 70s talking about megalopolises, where separate urban areas would eventually link, but I don’t think anyone expected the numbing monotony of the suburban landscape we have now and how regional distinctions have been steamrolled by Wal-Mart and Best Buy. I suspect the next several generations, the ones who grow up in the heart of sprawl, will return to cities and perhaps start an urban renaissance. We’ll see. I know I’ll be here waiting for them.

Q: Your underground popularity could be taken as proof that there are a growing number of people out there who don’t just take the propaganda that the ‘Media Priests’ shove down their throats at every opportunity. So maybe there is hope.

A: Is there a growing number? Unfortunately, these corporations are just too advanced. It seems like they just absorb the underground– hip-hop being a good example– and turn it into corporate product, no matter how outrageous it originally was. Revolution, Inc. if you will. It takes effort, REAL effort, to resist the corporate brainwash. I’ve always made the effort, indeed it’s almost a hobby, but I don’t have a feel for how many others do. My fear is that it’s a pretty small number.

Q: What you say about the mainstream absorbing the underground is really spot on, here in South Africa there’s this new ad where they play on the notion of a monotonous unfulfilled life (drive-work-drive-work-drive-work) to sell an expensive car . Never thought the day would come when they use anti-consumerism to sell luxury cars, it’s sick really.

A: My favorite was Mercedes Benz using Joplin’s “Oh Lord, Won’t You Buy Me a Mercedes Benz” in a commercial. Completely straight, as if Joplin had written it as a plug, instead of as a anti-consumption ballad. It was absolutely mind-boggling, this corporation saying, “We command that you reject the irony in these lyrics. It means what WE say it means.” To make it worse it was probably some fucking Baby Boomer ad rep, who 30 years ago was smoking bong to “Pearl” that came up with the thing. They’re in your head like never before. I’m actually more worried about marketers monitoring me than I am the government. I pay cash whenever I can, so there’s little record of what I buy. I lie on warranty forms, give them incorrect info. I go to great effort to foil these people.

Q: Do you see the internet as a possibility to open up even further the alternate comix scene?

A: Maybe. The problem is, of course, is that no one makes any money off the net…. unless you’re selling porn. I made enough on ads to pay for the space, but that’s COMPLETELY dried up since the dot.com crash last summer. The only dough I make now off the site now is selling t-shirts and prints. I hope it’ll turn around eventually. I’m not much of a capitalist— not a successful one anyways– but this IS how I make my living. The Net is great for getting your work out there… but how do people find it? That’s the key.

Q: Plunger Justice has to be one of my all time favourite ‘The City’ strips. I just have to know – how’d you come up with that one?

A: Oh, just one of those flashes of inspiration that popped into my head. And once I got the notion “what if a plunger up the ass became accepted punishment?” the rest of the strip just wrote itself. Unfortunately, it’s not such a ridiculous thought as it would at first seem. There are a shocking number of people who believe “criminals” deserve to be tortured. I’ve always had a thing about cops and the whole cop culture, the way the authorities play off the fear of crime to amass more and more power. It’s my assertion that America is, in fact, a police state.

Q: To end off – thanks for agreeing to the interview and keep on asking uncomfortable questions.

A: I’m afraid I’m incapable of doing anything but.

http://www.derfcity.com/

***

Reposted from Feb ’23 for searchability, etc.

Interview: Andrew White on Italo Calvino and adaptations.

Reposting some content that got lumped in with a whole bunch of other stuff. For searchability and the like.

***

Back in January, Andrew White began posting a series of work-in-progress comics adaptations to his newsletter and website. The adaptations in question are various works from the canon of the late Italian novelist and short story writer Italo Calvino. Calvino is known for having had an interest in old newspaper cartoons, claiming them as an influence on his narrative style. His writings really burst off the page in the most joyous, quite moving way. Real moments of aesthetic wonder. For me, Andrew’s work often has that same kind of beautiful but hard-to-pin-down effect. So this should be great. The first instalments show a lot of promise.

Andrew White Enchanted Garden

Since this is such an interesting project, and maybe a comics-literature crossover made in heaven, I was thrilled when Andrew offered to answer a few questions via email. What an opportunity to try and get some insight into how and why one of the top names in poetry comics decided to tackle Calvino.

Andrew White on Italo Calvino, adaptation and process.

I.

I first came to Calvino through If on a Winter’s Night a Traveler, many years ago, and his work has been an influence since that time. I’m inspired by the way many of his book-length works are essentially short story collections, where each chapter can be read individually but the whole is greater than the sum of those parts. I’m inspired by the way he integrated formal play into his fiction while retaining an emotional and narrative core that kept the work compelling.

I first adapted a Calvino story in 2012 (A Beautiful March Day, from the Numbers in the Dark collection) and have considered returning to Calvino over the years. As you noted in your initial write-up of this project, there are also a number of Calvino-comics connections that made the prospect even more appealing.

But I’m also skeptical of adaptation, both as a reader and as a cartoonist. Adaptations that I’ve read, that I’ve considering making, or that I’ve actually made often leave me wondering, even suspecting, that the exercise is pointless. What does the adaptation offer that can’t be found in the original work? Is it losing more than it’s gaining?

As some readers might know, I’ve worked intermittently over the last several years on comics biographies of Gertrude Stein, Georgia O’Keeffe, and Virginia Woolf. That work has been on my mind because I’m revising it for a forthcoming single volume collection, Together and Apart, to be published by Fieldmouse Press. Those comics have a strong element of adaptation as well, actually, because the text is drawn primarily from the subject’s own words in diaries, letters, etc. So I wondered if I was done with biographies, or if I could find some way to continue that project without repeating myself. Calvino, among many possible subjects, crossed my mind.

Calvino was known for being reticent about his personal life and even misstating aspects of his biography (most notably, he often said he was born in San Remo, where he spent most of his childhood, rather than in Cuba, since the former felt more true to him even if it was factually incorrect). So, I suddenly realized, simply adapting a selection of his stories was the best way to produce a Calvino biography. While some of my adaptations will be fairly straightforward, I’m hoping the answer to question I posed above–what is gained by adaptation?–is that the juxtaposition of unrelated Calvino works masquerading as a biography will reveal, to readers and to me, new insights about his work and his life.

II.

The first step was (re)reading all of Calvino. I was reading in English which excludes a few things, very possibly some key piece of material that would have pushed the project in a different direction, though to be fair Calvino’s bibliography in translation is fairly complete.

I took notes and did a bit of drawing as I read, looking for stories or moments that seemed like a good fit. Phrases that suggested more than they said or sequences with a strong visual component, for example. Calvino was fairly open about the formal constraints he set for his work, so in reading about that I soon decided on a structure for the project as well. This meant that at a certain point I had some organizing principles in mind and began to seek out stories that filled specific gaps.

Once I knew which stories I wanted to adapt, I could–inspired by Calvino–simply tackle each one individually and let the work accumulate. I’m still engaged in that process now, using the self-imposed monthly newsletter deadline to keep myself on schedule as I finish up the latter stories and return intermittently to the earlier ones. One real advantage of comics, something that could work well here if I deploy it carefully, is the way that repeated, refracted images and sequences can convey a sense of synchronicity that’s also present in Calvino’s various texts. The way his ideas are repeated or rhyme, but also evolve, as he explores them over time. So I’m sometimes returning to the stories I’ve already completed with that goal in mind. But it’s a balance, one never wants to be too obtuse or overbearing with that sort of thing…

http://whitecomics.co

***

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Interview: Brian Baynes of Bubbles Zine

Bubbles Zine Logo

In only four short years, Brian Baynes has built Bubbles Zine into a much loved and respected presence on the comics scene. And, y’know, it’s easy to see why the response has been so good and so quick. Bubbles is old school. Visually, yeah, but also in spirit. Each page reads like a tribute to the medium and the people who make it what it is: the artists, the letterers, retailers, fans, everyone. For comics people, it’s a blast of pure joy.

Since the 2023 subscriptions window for Bubbles is closing in about a week or so, it seemed like a good time to ask Brian a few questions and get his thoughts on the zine and state of comics.

How do you go about putting each issue of Bubbles together? What’s your process? Has the zine’s success changed how you tackle things?

I start working on each issue a little bit before the last one is finished. I want to stay contemporary, and I want to stay spontaneous. So I try not to fill up slots for interviews and such too far in advance, I never know what comics I’ll be obsessed with in a few months, and I want to have room to cover those. My process includes just reading a ton, writing a bunch, and researching all the time. Every issue takes me a few months of working on it all the time. As for the “success” – When I made Bubbles #1 I started off with just 30 copies, and I printed another 30 after those were out. I didn’t expect it to become what it is. And yet when I read that introduction I wrote in the beginning of that issue, I think it stays true now four years later. I wanted to bring a little spark of comic fanzine life back into comics, and just write about whatever my interests are. I’m proud that I’ve stayed true to myself. I cast my net pretty wide in comics, so it’s never hard for me to find more stuff I want to talk about.

Quality content aside, why do you think comics people have responded so well to the fanzine nature of Bubbles?

I think that comics is one of the last sub-cultures that love and appreciate the physical item. I’ve made punk zines for years before Bubbles, no one really read them, heck maybe they just sucked. But the comic readers had a real taste for Bubbles even with the first issue, which is far from my best one. To me the tactility of comics is one of the reasons I love them. Flipping through a comic or fanzine is such a unique experience that’s not replicated in other mediums. I’d guess that has something to do with it, people like reading an actual magazine rather than a blog. I want to think people want a break from screens. I don’t know, I’m thrilled that anyone reads the zine, it’s a blessing.

How would you describe the current state of the comics industry? Any emerging trends you’ve noticed?

I’d say it’s pretty good. I think there’s a ton of amazing artists going right now. In Bubbles #16 I’ll have the “Readers Best of 2022” lists, and it’s full of literally incredible work. It’s exciting all the different kinds of comics out right now, I always tell my non-comic reading friends that there’s a comic out there that they’d like. And every month it becomes more true. As far as trends, well there’s certainly a taste for manga that continues to build. Some of the best stuff coming out right now is newly translated work from decades ago. Not really sure what other insight I have, but definitely tons of great books out right now. It’s a good time to buy some comics.

***

You’ve got ’til March 15th to grab a 2023 subscription to Bubbles. For that, back issues, and more, head over to the Bubbles Zine site.

https://www.bubbleszine.com

Brian’s first Bubbles editorial. ↓

Bubbles Zine Issue 1 Intro Brian Baynes

***

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Sean Knickerbocker Interview: Rust Belt Review/Low-Rent Comics Gatekeepers/The Virtues Of DIY.

In the following short email interview, Sean Knickerbocker (editor and founder of the Rust Belt Review anthology series) makes the the point that comics are in a weird place right now.

It’s true, isn’t it? Alternative comics (or at least a few of them) continue to gain slightly ironic mainstream credibility.  The industry now has its own little academic and grant making niche. Plus cartoonists can promote and sell their work directly via social media, etc.

Yet financial precariousness in the industry persists and may even be becoming more acute as time goes on.

Does all this speak to a divide opening up in alternative comics? Between those cartoonists who play well on social media and those who don’t? Between those who are a good fit with current academic and cultural fashions and those who aren’t?

I don’t know. I’m not really qualified to say. You could also make the point that alternative comics are in a healthier state than alternative poetry, or literature, or what have you.

Whatever, it’s definitely an odd time, and it’s into this strangely-strange comics milieu that Sean Knickerbocker decided to launch (back in 2021) the Rust Belt Review. His intention being to create a supportive quarterly home for small-press cartoonists. Particularly those cartoonists telling stories from (and often about) the more regionally/culturally marginal corners of American life.

So, y’know, Sean’s definitely batting for those on the downside of the comics divide (if there is one).

Since Mr. Knickerbocker has recently opened up submissions for issue 6, I thought it would be a good time to ask what kind of work he’s looking for, find out how the anthology has evolved since its inception, and get his take on the current state of comics.

Here’s what he had to say….

Okay, you’re into publishing narrative work, right? What else are you looking for in a submission? Does the name Rust Belt imply an inclination toward working class themes? 

Yes, I’m mostly interested in narrative comics. I think comics work best in 8-40 page long sequences, so that’s ideally what I’m looking to publish. Ideally, the work I’m publishing is being created by artists from a working class background, but the submissions don’t need to have a working class theme or any sort of didactic element to it. 

How would you say Rust Belt Review has evolved over the course of the previous four issues?

I think I’ve become more focused on one-off stories. Initially, I wanted to have a showcase of serialized work, but I ran into some logistical issues with that. For starters, not everybody produces comics at the same pace. Additionally, not all stories can be broken down into satisfying bite-size pieces.

I wanted to keep all volumes in print at the same time, but I’m running into some financial issues with that model. I think moving forward I will be printing just a single run. Once the issue is gone, it’s gone! I think there’s something precious about that anyway. A good anthology represents a time and a place, so it doesn’t make sense to keep them in print months or even years after that moment has passed.

You’ve mentioned before that there isn’t enough infrastructure to support cartoonists. Could you expand on this and offer up some thoughts on how the situation might be remedied?

Comics are in this weird place right now. The community is becoming professionalized. As this continues to happen, it will become more difficult for working class people to participate. I think one of the beauties of comics is that anybody can make them, but as the medium becomes more wrapped into academia and traditional New York publishing, it’s becoming less and less accessible for anybody other than the children of the rich.

In the world of poetry, prose, and the fine-arts; there are benefits to working within academia and larger publishers, but I don’t see any of those benefits being given to cartoonists. Most arts grants programs don’t take cartooning seriously, and most art schools that have comics programs don’t pay their teachers very well. We’re getting all of the gatekeeping and none of the benefits. I think cartoonists should be very aware of that.

So long as we keep the DIY spirit alive in comics, I think we can continue to be an accessible community for many people. The moment we forget how to make books on our own is the moment we give up all our power to the giant publishing machines. My hope is that Rust Belt Review can be a model for larger DIY projects and I hope it can serve as an inspiration for up and coming creators.

***

Rust Belt Review volume 5 is due out soon. Submissions for volume 6 are now open. Anything submitted after may will probably only be considered for volume 7.

https://www.seanknickerbocker.com
https://www.seanknickerbocker.com/store
https://www.seanknickerbocker.com/submit

***

Comments always welcome. Either here on the blog or via email.

devin[at]alternative-comics[dot]com

The Comix Report #10. Your weekly dig into the alt comics firmament.

Header
Panel from Swag 5 by Cameron Arthur.

***

Nearly a month in, alternative-comics.com is rebranding. Henceforth, it shall be known as The Comix Report. Along with the name change comes a shift to a once-a-week posting schedule. Different name. Same address. Longer. Better. Once a week. Links at the top. Extracts and further joys after. Onward!

devin[@]alternative-comics[.]com

***

Contents

Links
Plum Pocket by Nate Garcia [Extract]
Andrew White Interview
Swag 5: Ballad of the Black Sun by Cameron Arthur [Extract]
Domino Books
All the Old Poisons
C.R.O.W.BAR 9 by Steve McArdle [Extract]
Doug Cueva
Czolgosz Syzygy Zine
Mailing List

***

News

WOW COOL President Valentine Sale 20% off storewide — February 14–21.
Fantagraphics Warehouse Sale 50% off selected titles. 14 – 21 Feb.
American Library Association releases best Adult GDs for 2022.
Comics Beat Preview: Read an excerpt of TOKYOPOP’s GUARDIAN OF FUKUSHIMA.
Portland, OR. Vendor Applications open for BWPCon.
The Centre for Cartoon Studies opens applications for Cornish Residency Fellowship. CCS director James Sturm says they’re looking for a cartoonist who’s demonstrated a dedication to cartooning with a body of distinctive and compelling work.
Birdcage Bottom Books launches spring crowdfunding campaign with slate of planned releases.
Printed Matter’s LA Art Book Fair. August 10–13, 2023. Exhibitor applications are open.
Seth Tobacman set to teach online course on comics as political expression.

Reviews

BLAH BLAH BLAH #3 by Juliette Collet reviewed on TCJ.
Andrew Neal’s Meeting Comics reviewed by Ryan Carey.
Dan Hill’s The 50 Flip Experiment reviewed by Ryan Carey.
Lewis Hancox’s Welcome to St. Hell: My Trans Teen Misadventure reviewed on Broken Frontier.
Sam Wallman’s Our Members Be Unlimited reviewed on Broken Frontier.
Vojtěch Mašek’s The Sisters Dietl reviewed on Broken Frontier

Interviews, etc.

Lawrence Lindell talks to Broken Frontier about his graphic novel on Black Love, Joy, Rebellion and the Power of Community.
TCJ Interview with Justin Hall and Vivian Kleiman re: No Straight Lines: The Rise of Queer Comics.
Publishers Weekly interview with Youssef Daoudi and Adrian Matejka re: Last on His Feet: Jack Johnson and the Battle of the Century.
Michael Dougan tribute and profile on TCJ.

***

Plum Pocket by Nate Garcia

Man, I love Nate Garcia. He and Hanselmann and maybe in a different way Josh Pettinger, that little crew, they’re the true modernized sons of the 60s underground. Nate’s work hits every mark: Funny. Gross. Clever as hell. Plus his artwork is so gorgeous and beautifully colored, you can spend time just basking in it. Plum Pocket includes a full page exclusive painting by Hanselmann.

Plum Pocket by Nate Garcia. 32 pages. Full color. 3 Stories.

https://nategarcia.bigcartel.com/product/plum-pocket

Extract ↓

Plum Pocket Nate Garcia 01
Plum Pocket Nate Garcia 02
Plum Pocket Nate Garcia 03
Plum Pocket Nate Garcia 04

https://www.instagram.com/nategarciascartoons
https://nategarcia.bigcartel.com

***

Andrew White Interview

Back in January, Andrew White began posting a series of work-in-progress comics adaptations to his newsletter and website. The adaptations in question are various works from the canon of the late Italian novelist and short story writer Italo Calvino. Calvino is known for having had an interest in old newspaper cartoons, claiming them as an influence on his narrative style. His writings really burst off the page in the most joyous, quite moving way. Real moments of aesthetic wonder. For me, Andrew’s work often has that same kind of beautiful but hard-to-pin-down effect. So this should be great. The first instalments show a lot of promise.

Andrew White Enchanted Garden

Since this is such an interesting project, and maybe a comics-literature crossover made in heaven, I was thrilled when Andrew offered to answer a few questions via email. What an opportunity to try and get some insight into how and why one of the top names in poetry comics decided to tackle Calvino.

Andrew White on Italo Calvino, adaptation and process.

I.

I first came to Calvino through If on a Winter’s Night a Traveler, many years ago, and his work has been an influence since that time. I’m inspired by the way many of his book-length works are essentially short story collections, where each chapter can be read individually but the whole is greater than the sum of those parts. I’m inspired by the way he integrated formal play into his fiction while retaining an emotional and narrative core that kept the work compelling. 

I first adapted a Calvino story in 2012 (A Beautiful March Day, from the Numbers in the Dark collection) and have considered returning to Calvino over the years. As you noted in your initial write-up of this project, there are also a number of Calvino-comics connections that made the prospect even more appealing.

But I’m also skeptical of adaptation, both as a reader and as a cartoonist. Adaptations that I’ve read, that I’ve considering making, or that I’ve actually made often leave me wondering, even suspecting, that the exercise is pointless. What does the adaptation offer that can’t be found in the original work? Is it losing more than it’s gaining?

As some readers might know, I’ve worked intermittently over the last several years on comics biographies of Gertrude Stein, Georgia O’Keeffe, and Virginia Woolf. That work has been on my mind because I’m revising it for a forthcoming single volume collection, Together and Apart, to be published by Fieldmouse Press. Those comics have a strong element of adaptation as well, actually, because the text is drawn primarily from the subject’s own words in diaries, letters, etc. So I wondered if I was done with biographies, or if I could find some way to continue that project without repeating myself. Calvino, among many possible subjects, crossed my mind.

Calvino was known for being reticent about his personal life and even misstating aspects of his biography (most notably, he often said he was born in San Remo, where he spent most of his childhood, rather than in Cuba, since the former felt more true to him even if it was factually incorrect). So, I suddenly realized, simply adapting a selection of his stories was the best way to produce a Calvino biography. While some of my adaptations will be fairly straightforward, I’m hoping the answer to question I posed above–what is gained by adaptation?–is that the juxtaposition of unrelated Calvino works masquerading as a biography will reveal, to readers and to me, new insights about his work and his life.

II.

The first step was (re)reading all of Calvino. I was reading in English which excludes a few things, very possibly some key piece of material that would have pushed the project in a different direction, though to be fair Calvino’s bibliography in translation is fairly complete. 

I took notes and did a bit of drawing as I read, looking for stories or moments that seemed like a good fit. Phrases that suggested more than they said or sequences with a strong visual component, for example. Calvino was fairly open about the formal constraints he set for his work, so in reading about that I soon decided on a structure for the project as well. This meant that at a certain point I had some organizing principles in mind and began to seek out stories that filled specific gaps. 

Once I knew which stories I wanted to adapt, I could–inspired by Calvino–simply tackle each one individually and let the work accumulate. I’m still engaged in that process now, using the self-imposed monthly newsletter deadline to keep myself on schedule as I finish up the latter stories and return intermittently to the earlier ones. One real advantage of comics, something that could work well here if I deploy it carefully, is the way that repeated, refracted images and sequences can convey a sense of synchronicity that’s also present in Calvino’s various texts. The way his ideas are repeated or rhyme, but also evolve, as he explores them over time. So I’m sometimes returning to the stories I’ve already completed with that goal in mind. But it’s a balance, one never wants to be too obtuse or overbearing with that sort of thing…

http://whitecomics.co

***

Swag 5: Ballad of the Black Sun by Cameron Arthur.

The latest instalment of Cameron Arthur’s one man anthology series. Swag 5 is like a throwback to the golden age of cinematic Westerns. Slow boil simmering. When the narrative cracks, its like a rifle round going off. The artwork, the dialogue, the pacing are all slightly on the sparse side, creating a sense of vastness, of solitary desert wilderness and pitch-black nights. Wonderful. Very engaging. 3 Stories. 80 pages.

You can get a copy of Swag 5 by emailing Cameron directly.

camcom1228ATgmailDOTcom

Extract ↓

swag 5 cameron arthur 01
swag 5 cameron arthur 02
swag 5 cameron arthur 03
swag 5 cameron arthur 04
swag 5 cameron arthur 05

camcom1228ATgmailDOTcom

***

Domino Books

Domino Books hit a number of milestones in 2022. $40,262.15 paid to artists. That’s up $6000 from 2021. Also $13,577.09 spent on postage. Austin English. The guy’s a one man old-school underground distro machine.

New @ Domino:
Fake Comics by Jason T. Miles
The Drifter by Anna Haifisch.

Restocked @ Domino:
Grip by Lale Westvind
The Glass Chamber 0 by Tia Roxae.

***

All the Old Poisons

Online micro retailer. Owner says he tries to make everything available at prices that allow readers to take a shot on a book–even foreign language titles. He’s enjoyed bringing in various small collections of Japanese work from the likes of Suehiro Maruo, Shintaro Kago, Katsuhiro Otomo, Kazuo Umezu, Yoshikazu Ebisu, Takashi Nemoto, and Teruhiko Yumura. Plus some screen-printed books from publishers Le Dernier Cri and Bongoût. Great collection. Well curated. Gorgeous stuff.

https://alltheoldpoisons.myshopify.com/collections/comic-books

***

C.R.O.W.BAR 9 by Steve McArdle

Gonzo genre brut: Republished 90s indie marginalia from partnership between Floating World and Power Comics. Metal sensibilities. Determinedly intense artwork. Bang-bang-bang story telling. The superheroes vs aliens genre stripped down to its adolescent core. Great fun.

80 pages. B&W.

https://floatingworldcomics.com/shop/comic-books/c-r-o-w-bar-9-80-page-giant-by-steve-mcardle

Extract ↓

crowbar9 steve macardle 01
crowbar9 steve macardle 02
crowbar9 steve macardle 03
crowbar9 steve macardle 04

https://floatingworldcomics.com
https://www.instagram.com/power_comics

***

Doug Cueva

Ohio based cartoonist Doug Cueva has started posting some of his mini comics online. Politics. Humor. Space Opera. Well worth keeping an eye on, I reckon.

https://cavecomix.wordpress.com

***

Czolgosz Syzygy zine

The first and so far only issue of off-and-on WW3 contributor and editor Ethan Heitner’s zine has been around for a few years now. It’s still hot and fresh. Politics. Comics. Interviews with Joe Sacco and Eleanor Davis. Yiddish modernist poets. Abolitionist writings paired with art. You’ll know whether or not this is your kind of thing. If it is, highly recommended. All profits donated to the Rawa Cultural Communities Fund.

36-page zine, magazine size (8.5 x 11), b & w, saddle-stitch stapled.

https://www.czolgoszsyzygy.com/product/the-czolgosz-syzygy-1

https://www.czolgoszsyzygy.com/

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Alt Comics: Gabrielle Bell, News & Links + John Backderf Interview.

Career Shoplifter Review

Career Shoplifter by Gabrielle Bell

Gabrielle concludes that she is a failure in life, so she might as well do what she likes for the rest of it. She spends hours at cafes covertly drawing and eavesdropping on her fellow layabouts and shirkers every day. Occasionally she gets caught, and sometimes, she makes friends.

I’ve heard it said Ms. Bell is the voice of a generation. I wouldn’t disagree.

Career Shoplifter by Gabrielle Bell. 6×9″, 64 pages, Color and B&W. Uncivilized Books.

https://uncivilizedbooks.com/career-shoplifter-by-gabrielle-bell/

Gabrielle Bell Career Shoplifter 00
Gabrielle Bell Career Shoplifter 01
Gabrielle Bell Career Shoplifter 02
Gabrielle Bell Career Shoplifter 03
Gabrielle Bell Career Shoplifter 04

News & Links

Cameron Hatheway’s anthology Clusterfux Comix #5 is available for purchase.
https://www.cammyscomiccorner.com/single-post/clusterfux-comix-5-is-now-available-to-purchase

Review of Cat #4 by Brandon Berry.
http://www.opticalsloth.com/?p=27639

Bubbles Zine still has 2023 subscriptions open ’til March 15th.
https://www.bubbleszine.com/product/bubbles-3-issue-subscription-for-16-17-18

This week’s Comics Journal Links.
https://www.tcj.com/man-and-superman-this-weeks-links/

Broken Frontier lists 6 small press creators to watch in 2023.
https://www.brokenfrontier.com/garcia-firth-tubb-hu-sharp-kubrick-6-to-watch/

If you’re near Norfolk, Virginia this weekend. ↓

Noice '23

Vintage Derf zine interview.

Sticking a tweet from John Backderf in Wednesday’s News & Links section reminded me that I had, back in the early 2000s, conducted an email Q&A with Mr. Backderf for an online zine I used to run. As is the nature of such things, the zine is now long since defunct, consigned to the dustbin of digital history. But! Rereading the interview for the first time in forever, it’s actually aged fairly well. Which is not that surprising: John Backderf is an interesting guy, with a lot of interesting work to his name.

Anyway, I thought it might be worth reposting.

So, for purposes of historical interest, here follows two screenshots of the original post, then the interview.

Note: Please excuse the odd outdated cultural reference (does anyone remember that Mercedes ad set to Janis Joplin? Or Fabio, for that matter?) and the youthful earnestness (and occasional ignorance) of the questions.

Attempting-to-be-hip early 2000s web design. If you’re having trouble getting a layout to work, stick it in a pop-up.
I once got an email from Jim Woodring telling me he couldn’t read the tiny font sizes I used for content. Now, at 40 years old, I can’t either. Sorry, Jim.

The Interview.

Derf - White Middle Class Suburban Man

Q: You’ve certainly caused a lot of controversy in your time. Offending almost every shade of closed minded individual: Christians, concerned mothers, Republicans, Democrats, Caucasians, footballer’s, Fabio supporters – and so it goes on. What’s your secret? I mean you’ve gotta be tapping into some long ignored corner of the mass ‘suburban psyche’ to get such a reaction?

A: Well I’m a product of the burbs. I grew up in a small Ohio farm town that, by the time I left for college was being overrun by housing developments. There aren’t a lot of people doing stuff on the burbs either… Y’know, in a way that states “hey, this is a pretty screwed up way to live.” Most regard that as blasphemous. Many just don’t see it. They think they’re living in a fucking paradise. That’s really the whole premise of White Middle Class Suburban Man. The poor fellow is too delusional to realize what a soulless dump it is he lives in.

I also appear to have been born with the gift of really pissing people off. It first manifested itself in high school when I was foolishly asked to draw the stars of the football team for a pep-rally banner and rendered them all as Neanderthal trolls with overhanging foreheads. I had to dodge angry jocks for weeks after that. Since that time, at least once a year I do something that gets me in hot water. In college, another cartoon on a football star, one who got in trouble with the law, kicked up such a fire-storm I actually had to flee town for a week until things cooled down. And, y’know…. I never see it coming. It’s always the cartoons I think are completely innocuous that get me the most shit. Other pieces are just notorious right from the concept, like the Young Jeffrey Dahmer stuff. People object to its existence in principle… without ever actually bothering to read it and discover that it’s not what they think it is.

Q: I know that what happened to you with Jeffrey Dahmer would’ve had quite an effect on me. Was doing ‘Young Jeffrey Dahmer’ almost a cathartic experience for you?

Derf: No. Not really. When the news first broke about Dahmer… when was it? 1990? 91?… I was plenty freaked out. You just can’t imagine what it was like. But the first chapter of Young Jeffrey Dahmer wasn’t published until five years later, well after he was tried, convicted and killed in prison. So I had plenty of time to process it and get it straight in my head. I just finished the last two chapters, so that’s a six-year gap there. I’m shopping it to publishers now. If no one will print it, I’ll publish it myself and sell it on the website. But it WILL see print this year.

Actually, working on the piece was both unsettling and oddly sentimental. Sentimental because I was drawing people and places from my youth. I admit to having fun compiling reference photos from the time and re-creating my home town, the interior of my high school, the mall, my boyhood friends…. I focused on that and it took my mind off all the very disturbing elements of the story, which obviously there are many. It was the writing of it that was the hardest. And finally I just sat down and scrawled it out in a day. It came out very quickly and needed almost no revision. Those who read it for the first time (chapter 1 is on the site) are always surprised there’s no gore, no deviant sex, no graphic depiction’s of any kind. That it’s a haunting, thoughtful account of how a troubled kid was allowed to spiral into madness. People are also quite surprised that I paint Dahmer as a tragic figure. But that’s what he was when I knew him. He didn’t have to become a monster. He could’ve been helped… at that point anyways.

Q: In a previous interview you mentioned that you had no delusions about changing the world. Well – the way I see it, when someone gets offended at least it’s proof of some form of mental arithmetic taking place (for better or for worse). So even if you’re just presenting people with the ‘opportunity’ to suddenly say : damn -bugger the lawn – there’s got to be another way. Isn’t it worth it?

A: Generally speaking, I believe I’m mostly preaching to the choir. The vast majority of people who read the papers my cartoon appears in, the free weekly city papers here in the states and in Canada, are youngish urban dwellers with a left bent. So we’re all of a similar mind to start. There are some right-wing blowhards out there who read the papers only to “monitor” the content. They’re the ones I usually hear from.

But I just don’t believe cartoons have the power to make or change opinion. Nor do I really want to. I wanted to when I was young and stupid but long ago left that behind. Besides, the world is becoming more and more rigidly divided. Or, at least this country is and, since we have all the guns, we’re the ones that count. My recent cartoons on our new President have generated some unbelievable letters… most, hilariously… full of grammatical and spelling errors. All because I make fun of some doofus frat boy whose party managed to steal an election? C’mon. And, of course, we’re so simple-minded in America that these people think I’m a Gore supporter just because I make fun of Bush, when the truth is I couldn’t stand EITHER of the bastards.

As for changing the world…I’m really just in it for the laughs, man. I figure if I can make someone chuckle for a minute or two once a week then, hey, that’s not such a bad accomplishment is it?

Q: I see the recent US. election as evidence that the notion of the American Dream has indisputably gone belly up, bobbed to the surface and swelled in the midday sun.

A: Well…It’s my contention that happened long ago. Reagan, Clinton, the Bushes…. every one of them sold out the common man. Perhaps Clinton worst of all, because he was such a hypocrite, pretending to be the defender of the average joe while giving the capitalist machine whatever it wanted. But Dubya is really the first president entirely bought and paid for by corporate interests. He should have a bar code tattooed on his forehead. And the American Dream has, at best, only ever worked for a relative few.

This recent post-election debacle could have been worse, of course. There was no violence in the streets as opposition groups clashed. I was actually a bit surprised there wasn’t, given the rancor. The fighting was restricted to the courtroom as lawyers duked it out and on the airwaves as the spinmeisters battled for the upper hand. Lawyers and spin… THAT’S the American Way.

Q: You’ve called the ‘Suburban Plague’ the most destructive cultural movement in the last 50 years. What steps do you think could be taken to try and take a big chip out of the status quo? To present and promote alternative outlooks?

A: The key is some sort of regionalism where communities work together to preserve green space and farms and put an end to, or at least slow, sprawl. There are places– Oregon, for example– where they’ve had some success with it. Certainly, in Europe they do it very well. But not any place I’ve lived, unfortunately. Florida, where I got my start as a pro cartoonist, for instance, really just needs to be sawed off at the panhandle and allowed to drift away. There’s no saving it. I live in Ohio now and it’s shocking how much farmland has been lost. That farm town I grew up in is now covered with $1-million homes. Fucking yuppies covering the fields with giant monuments to excess.

The eventual solution? We just have to use our brains… which means there’s probably no hope.

Q: O.K. Lets take a look at the worst case scenario – If nothing changes and things carry on in the direction they’re currently going, where do you see humanity in say 50 years time?

A: Hard to say. The population in America is not expanding. There’s just more people taking up more space. Who could’ve predicted what we’ve got now? I recall futurists in the 70s talking about megalopolises, where separate urban areas would eventually link, but I don’t think anyone expected the numbing monotony of the suburban landscape we have now and how regional distinctions have been steamrolled by Wal-Mart and Best Buy. I suspect the next several generations, the ones who grow up in the heart of sprawl, will return to cities and perhaps start an urban renaissance. We’ll see. I know I’ll be here waiting for them.

Q: Your underground popularity could be taken as proof that there are a growing number of people out there who don’t just take the propaganda that the ‘Media Priests’ shove down their throats at every opportunity. So maybe there is hope.

A: Is there a growing number? Unfortunately, these corporations are just too advanced. It seems like they just absorb the underground– hip-hop being a good example– and turn it into corporate product, no matter how outrageous it originally was. Revolution, Inc. if you will. It takes effort, REAL effort, to resist the corporate brainwash. I’ve always made the effort, indeed it’s almost a hobby, but I don’t have a feel for how many others do. My fear is that it’s a pretty small number.

Q: What you say about the mainstream absorbing the underground is really spot on, here in South Africa there’s this new ad where they play on the notion of a monotonous unfulfilled life (drive-work-drive-work-drive-work) to sell an expensive car . Never thought the day would come when they use anti-consumerism to sell luxury cars, it’s sick really.

A: My favorite was Mercedes Benz using Joplin’s “Oh Lord, Won’t You Buy Me a Mercedes Benz” in a commercial. Completely straight, as if Joplin had written it as a plug, instead of as a anti-consumption ballad. It was absolutely mind-boggling, this corporation saying, “We command that you reject the irony in these lyrics. It means what WE say it means.” To make it worse it was probably some fucking Baby Boomer ad rep, who 30 years ago was smoking bong to “Pearl” that came up with the thing.

They’re in your head like never before. I’m actually more worried about marketers monitoring me than I am the government. I pay cash whenever I can, so there’s little record of what I buy. I lie on warranty forms, give them incorrect info. I go to great effort to foil these people.

Q: Do you see the internet as a possibility to open up even further the alternate comix scene?

A: Maybe. The problem is, of course, is that no one makes any money off the net…. unless you’re selling porn. I made enough on ads to pay for the space, but that’s COMPLETELY dried up since the dot.com crash last summer. The only dough I make now off the site now is selling t-shirts and prints. I hope it’ll turn around eventually. I’m not much of a capitalist— not a successful one anyways– but this IS how I make my living. The Net is great for getting your work out there… but how do people find it? That’s the key.

Q: Plunger Justice has to be one of my all time favourite ‘The City’ strips. I just have to know – how’d you come up with that one?

A: Oh, just one of those flashes of inspiration that popped into my head. And once I got the notion “what if a plunger up the ass became accepted punishment?” the rest of the strip just wrote itself. Unfortunately, it’s not such a ridiculous thought as it would at first seem. There are a shocking number of people who believe “criminals” deserve to be tortured. I’ve always had a thing about cops and the whole cop culture, the way the authorities play off the fear of crime to amass more and more power. It’s my assertion that America is, in fact, a police state.

Q: To end off – thanks for agreeing to the interview and keep on asking uncomfortable questions.

A: I’m afraid I’m incapable of doing anything but.

http://www.derfcity.com/

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