In this issue, Gary Groth interviews Roz Chast, the New Yorker humor cartoonist turned graphic memoirist (Can’t We Talk About Something More Pleasant?). TCJ #306 focuses on the intersections between comics and politics. It includes op-eds on the importance (and lack thereof) of modern political cartooning. Also featured is a meditation on the creator of the Dilbert newspaper comic strip, Scott Adams; a piece about Daisy Scott, the first African American woman political cartoonist; a gallery of underground cartoonist John Pound’s code-generated comics; portraits of mass shooting victims; a selection of Spider-Gwen artist Chris Vision’s sketchbook pages; and other essays and galleries.
Neon Revelations tracks the groundbreaking career of comics innovator and iconoclastic auteur Howard Chaykin and the impact of his work on the transformation of American comic books in the 1980s. Acclaimed (and often controversial) projects such as American Flagg!, Time2, and Black Kiss turned action-packed adventure tales of mainstream comics into a platform for personal expression, political engagement, and aesthetic experimentation. Chaykin remains a vital and prolific artist today, yet despite the original and influential nature of his comics, he has received scant critical attention. Spanning Chaykin’s career from his 1980s heyday to the contemporary period, the first book-length study of Chaykin’s work locates the unique power of Chaykin’s comics in their inventive explorations of the question of authenticity in popular culture. It examines the ways in which Chaykin’s work, which demands a mode of reading that is alive to the distinct affordances of the comics medium and the complexities of its history, reveals the limitations of valuing comics narrowly as "literature."
A groundbreaking anthology of contemporary literary indie manga. 332 pages. Perfect bound 7 × 10 inches format book. 1-color risograph printed interiors on a creamy natural paper stock. 4-color risograph covers, with a deluxe soft touch cover lamination. Features work from 13 artists (including the artist for the cover illustration) from the Japanese indie manga scene, almost all of whom have never been published in English before. Like the previous issue, Glaeolia no. 2 includes an essay introducing the participating authors and works to the English literary world, as well as endnotes contextualizing aspects of the stories, and a complete author biography ?section.
For the first time, all fourteen issues of Johnny Ryan’s career-defining comic book series Angry Youth Comics (2000–2008) are collected in one place: all the comics, the covers, and even the contentious letters pages, in one toilet-ready brick. Johnny Ryan’s utterly unpretentious, taboo-tackling is an infectious and hilarious bombardment of political incorrectness, taking full advantage of the medium’s absurdist potential for maximum laughs. In an age when the medium is growing up and aspiring to more mature and hoity-toity literary heights, Ryan builds on the visceral tradition that cartooning has had on our collective funny bone for over a century.
The Comics Journal #304 features Gary Groth in conversation with outspoken Tasmanian cartoonist Simon Hanselmann, who discusses how his tragicomedy webcomic starring a witch, a cat, and an owl became an internationally acclaimed, best-selling phenomenon, collected in books such as Megahex and Bad Gateway. This issue also highlights the labor and economics issues facing the medium — the past and future of organizing a comics union, work-for-hire contracts, and how comic conventions can better serve creators — with the Journal’s hallmark candor. Other features include an exclusive look at the unfinished graphic novel that Eisner and Geisel Award winner Geoffrey Hayes was working on before his untimely death in 2017, a peak inside the lush sketchbook of Sophie Franz, a timely work by Brazilian cartoonist Laura Lannes, a reconsideration of the comics canon by Skin Horse cartoonist Shaenon K. Garrity, and more!
Robert Crumb (b. 1943) read widely and deeply a long roster of authors including Robert Louis Stevenson, Charles Dickens, J. D. Salinger, Jack Kerouac, William S. Burroughs, and Allen Ginsberg, as well as religious classics including biblical, Buddhist, Hindu, and Gnostic texts. Crumb’s genius, according to author David Stephen Calonne, lies in his ability to absorb a variety of literary, artistic, and spiritual traditions and incorporate them within an original, American mode of discourse that seeks to reveal his personal search for the meaning of life. R. Crumb: Literature, Autobiography, and the Quest for Self contains six chapters that chart Crumb’s intellectual trajectory and explore the recurring philosophical themes that permeate his depictions of literary and biographical works and the ways he responds to them through innovative, dazzling compositional techniques. Calonne explores the ways Crumb develops concepts of solitude, despair, desire, and conflict as aspects of the quest for self in his engagement with the book of Genesis and works by Franz Kafka, Jean-Paul Sartre, the Beats, Charles Bukowski, and Philip K. Dick, as well as Crumb’s illustrations of biographies of musicians Jelly Roll Morton and Charley Patton. Calonne demonstrates how Crumb’s love for literature led him to attempt an extremely faithful rendering of the texts he admired while at the same time highlighting for his readers the particular hidden philosophical meanings he found most significant in his own autobiographical quest for identity and his authentic self.
Written in straightforward, jargon-free language, A Concise Dictionary of Comics guides students, researchers, readers, and educators of all ages and at all levels of comics expertise. It provides them with a dictionary that doubles as a compendium of comics scholarship. A Concise Dictionary of Comics provides clear and informative definitions for each term. It includes twenty-five witty illustrations and pairs most defined terms with references to books, articles, book chapters, and other relevant critical sources. All references are dated and listed in an extensive, up-to-date bibliography of comics scholarship. Each term is also categorized according to type in an index of thematic groupings. This organization serves as a pedagogical aid for teachers and students learning about a specific facet of comics studies and as a research tool for scholars who are unfamiliar with a particular term but know what category it falls into. These features make A Concise Dictionary of Comics especially useful for critics, students, teachers, and researchers, and a vital reference to anyone else who wants to learn more about comics.
This issue of the award-winning magazine shines a light on how comics creators are affected by chronic disease, disability, and our nation's health care system. This issue also features a document that is significant not only in terms of comics history ― but American history, as well. Created by the civil rights organization SNCC (Student Nonviolent Coordinating Committee) and the Black Panther Party in 1967, this hand-printed zine is a report about a black community in Alabama that attempted to take back their voting rights in their local elections. There is also a profile on cartoonist Kevin Huizenga (Ganges), and much more.
Interviews with the Disney artist who created Scrooge McDuck and many well-loved comic books Disney artist Carl Barks (1901-2000) created one of Walt Disney's most famous characters, Scrooge McDuck. Barks also produced more than 500 comic book stories. His work is ranked among the most widely circulated, best-loved, and most influential of all comic book art. Although the images he created are known virtually everywhere, Barks was an isolated storyteller, living in the desert of California and preferring to labor without public fanfare during most of his career. He created work of such exceptional quality that he was accorded the greatest autonomy of any Disney artist. He is the only comic book artist ever to receive a Disney Legends award. The influence of Barks's work on such filmmakers as George Lucas and Steven Spielberg and on such artists as Gottfried Helnwein has extended Barks's significance far beyond the boundaries of comics. After Barks's death at the age of ninety-nine, Roy Disney praised him for his "brilliant artistic vision." Carl Barks: Conversations is the only comprehensive collection of Barks's interviews. It ranges chronologically from the very first one (with Malcolm Willits, the fan who uncovered Barks's identity) to the artist's final conversations with Donald Ault in the summer of 2000. In between are interviews conducted by J. Michael Barrier, Edward Summer, Bruce Hamilton, and others. Several of these interviews are published here for the first time. Ault's friendship with Barks, ranging over a period of thirty years, provides an unusually intimate resource not only for standard q&a interviews but also for casual conversations in informal settings. Carl Barks: Conversations reveals previously unknown information about the life, times, and opinions of one of the master storytellers of the twentieth century. Donald Ault, a professor of English at the University of Florida, is the author of Narrative Unbound: Re-Visioning William Blake's The Four Zoas and Visionary Physics: Blake's Response to Newton. His work has been published in Studies in Romanticism, The Wordsworth Circle, Modern Philology, and The Comics Journal.
