Archive for Neil Gaiman

Children’s Lit vs. Brexit

According to my unscientific survey, most creators of children’s literature and YA literature thought that Britain should remain in the European Union. They did not see the EU as without problems, but rather understood that remaining a member was far more advantageous than leaving. Here, then, are a few responses to the Brexit vote. I’ve gathered some from Oliver Jeffers, Malorie Blackman, Lucy Coats, Neil Gaiman, John Green, Guus Kuijer, Andrew Prahin, Philip Pullman, J.K. Rowling, Stephen Savage, Bob Shea, and G. Willow Wilson. UPDATE: Added Patrick Ness and Michael Rosen.

Did I miss any of your favorites?  Let me know, and I’ll add them.

Oilver Jeffers

Oliver Jeffers, Brexit

Source: Jeffers’ Instagram.

Malorie Blackman

Lucy Coats

Neil Gaiman

John Green

Guus Kuijer

According to Google Translate, this is: “I believe that Britain is falling apart. So sad!”

Translation, courtesy of Vanessa Joosen: “I finally understand that being a patriot means you don’t want to belong to anything.”

Google Translate: “The North Sea remains as narrow though. Though ..”

Google Translate: “The gray establishment outstrips the young people”

Google Translate: “Go out of Twitter: ‘Twixit’? Worth considering.”

Patrick Ness

This last one is a response to Mr. Trump’s characteristically idiotic statements, made just after he landed in Scotland:

There are more Brexit-related Tweets in Ness’s feed.

Andrew Prahin

Philip Pullman

The following day, Pullman published an editorial, “on the 1000 causes of Brexit,” which includes two paragraphs that I’m excerpting primarily because they offer the strongest parallels to the U.S. media’s complicity in facilitating the rise of America’s fascist orange dumpster fire:

Then there is the tendency of our broadcast media to be seduced by strong personalities. The oafish saloon-bar loudmouth Nigel Farage was indulged with far too many appearances on Any Questions and Question Time. Producers seem to have felt his dog-whistle racism to be amusingly transgressive.

Similarly, Boris Johnson, a liar, a cheat, a man said to have betrayed a journalist to someone who wanted to beat him up, a shameless opportunist, an idle buffoon, to name but a few of his disqualifications for high office, was flattered over and over again by programmes such as Have I Got News For You. Without the completely needless exposure these two gained from the generosity of TV and radio, they would have found it harder to spread their lies and not-even-quite-covert racism during the referendum. They’d have been starting from a different place.

In the next paragraph, he identifies David Cameron’s “flippant, careless, irresponsible” decisions as the “immediate cause of the disaster.”  Read the entire piece at The Guardian.

Michael Rosen

You can read Michael Rosen’s modest proposal, “Time to cull old people,” on his website.  It begins like this:

Good evening

on what is a historic moment in history,

a truly momentous moment

and I want to take this opportunity to discuss something

which up until now has been swept under the carpet:

old people.

Quite frankly there are too many of them.

I’m going to say it simply

and you can quote me on this:

there are too many old people in Britain today;

we can’t cope

they’re putting pressure on our public services,

they’re forcing wages down through doing low-paid jobs
and volunteering all over the place;they’re hanging about on street corners
talking to each other in their own odd ways
they go to their own special places
segregating themselves off from the rest of us

failing to integrate.

As I say, read the rest of it on his website, and remember that it’s satire — specifically, a commentary on the fact that those in favor of Brexit were older, and that a lot of the pro-Brexit rhetoric was anti-immigrant.

J. K. Rowling

Stephen Savage

Bob Shea

G. Willow Wilson


Credits: Thanks to Vanessa Joosen for translating one of Guus Kuijer’s Tweets, to Lara Saguisag for pointing me to the responses from Michael Rosen and Patrick Ness, and to Poushali Bhadury for pointing me to Philip Pullman’s Guardian piece.

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Comic-Con, San Diego, Saturday, July 20

To begin today’s post, here is a photo of Eric Reynolds and I fending off the crowds at this morning’s signing.

Philip Nel, Barnaby, Eric Reynolds

One at a time, folks! One at a time! There are plenty of books for everyone.

Seriously.  There really are plenty.  I’ll be signing at the booth again on Sunday, from 2-4.

Small-Press Comics for Small People

You already know Jeff Smith’s Bone, Drawn & Quarterly’s picture-book editions of Tove Jansson’s Moomin comics (the latest is Moomin Builds a House), and Andy Runton’s Owly. But do you know these contemporary comics for young readers?  I only just encountered them here, at Comic-Con.

  • Debbie Huey, Bumperboy and the Loud, Loud MountainMike Bocianowski’s Yets! is a whimsical Walt-Kelly-esque fantasy. Though I wish the format were slightly larger (the typeface can be a bit small), but — based on my reading of the first volume — they’re charming adventures for young readers.
  • Debbie Huey’s Bumperboy series features Bumperboy, his pal Bumperpup, and their friends. I haven’t read the Bumperboy Gets Angry sequence, but Bumperboy and the Loud, Loud Mountain, Bumperboy and Friends in “First Day of School”, and Pictonese Lessons are all charming.
  • Konami Kanata‘s Chi’s Sweet Home stars a kitten, and may be for slightly older (say, grade-school) readers, but also very much an “all ages” comic… about a kitten!
  • I already knew James Kochalka’s Johnny Boo series, about the eponymous ghost and his pet ghost Squiggle, but they’re worth a mention, too. (And they’re also on display here.)

Since I started by mentioning Owly, I must add that I bought a couple of Owly books for my niece yesterday (I didn’t buy them for myself because I already have a complete set), and Andy Runton — who is just as kind and thoughtful as you’d expect Owly’s creator to be — inscribed them to her, including some original drawings. Very cool.

Never Mind the Bullock

We tried to find the Jack Kirby Museum booth, where Charles Hatfield would be signing copies of his Jack Kirby: The Hand of Fire (2011, Eisner Award winner), and The Superhero Reader (which he co-edited, 2013). Instead, we found ourselves adjacent to a booth where Sandra Bullock was signing autographs. Later, we realized that the “5000” numbers in the convention hall are not contiguous: some are in the back left corner, and others are in the front right corner.

Will Eisner and the Graphic Novel

Neil Gaiman, Dennis Kitchen, Scott McCloud, Jeff Smith

Paul Levitz, the moderator of this panel, seemed to have quite a lot to say. He really knew his subject (Will Eisner), but I kept wanting him to stop answering his questions before he had asked them.

That aside, the panelists themselves were excellent.  When the panel began, Neil Gaiman had yet to arrive.  But we had Denis Kitchen (literary executor for the Will Eisner Estate), Scott McCloud (Understanding Comics), and Jeff Smith (Bone).

Denis Kitchen recalled meeting Eisner during the period when Eisner was doing his educational comics. Eisner actually sought Kitchen because Kitchen was involved in underground comics, which had a different business model. The creator had copyright control, the original art would be returned to creator, and so on. This interested Eisner. So, although Kitchen had questions for Will, Will had more questions for him.

Scott McCloud said, “Will was completely different from anyone else in his generation. I saw him arguing with Will Kane about Maus. Will thought it was important for all the reasons we now know. Gil Kane thought it was so badly drawn that he couldn’t get past that.” Speaking of Eisner as an innovator, McCloud offered, “He was leading an army into battle before anyone knew there was a battle before anyone knew there was an army.” Eisner, McCloud explained, “was the first one who really understood what to do with the page.”  Mc Cloud also saw Eisner as part of the non-fiction comics revolution. “We’re only now just beginning to exploit the possibilities that he saw decades ago.” A Contract with God “is not technically the first graphic novel, but the shot across the bow that showed everyone what it could be.”

Jeff Smith told us, “I loved his drawing — the over-the-top caricature — the amount of emotion in is characters.” Smith recalls being fascinated by the fact that “there was some sense of continuity as the story developed.” He noted, for example, that when the Spirit got injured, he would be on crutches for several issues, rather then emerging in the subsequent issue fully intact. “I’d never seen that before,” Smith told us. “Will was so interested in what the new people were doing, what the young people were doing.  He wasn’t just interested.  He had to know…. And I believe in passing it on.  I learned from him that that’s important.”

Jules Feiffer, TantrumJules Feiffer was writing Tantrum at about the same time that Will Eisner was creating A Contract with God. Why didn’t Tantrum have the impact?

Jeff Smith answers, “Will was a comic book guy. Jules was a newspaper guy, known through the Village Voice and stuff like that.”  And so, he said, “I don’t think it [A Contract with God] clicked at the time. I think it clicked in retrospect.”  He added, “It was when you saw that next generation of comics people, … [A Contract with God] made them want to do it.”

McCloud said the problem was that “Tantrum looked at home.  It looked like it belonged.  Will did things that don’t belong.

At about that moment (20 minutes into the discussion) Neil Gaiman — wearing dark glasses and dressed entirely in black — arrived through a side door and walked right in front of where we were sitting. He dashed up onto the stage, and immediately entered the conversation.

Gaiman recalled, “I bought Tantrum with my own money. I was 17.”  He had a very different — and, I think, better — explanation for why Tantrum didn’t click.  “The pschyo-sexual odyssey of a 40-year-old man was less accessible than A Contract with God.” And “It didn’t look like a comic.”

Neil Gaiman and Dave McKean, Signal to NoiseGaiman remembered meeting Will Eisner, and he spoke of “Having learned everything I knew about comics from Will, going out and buying Comics and Sequential Art,” which became his guide for how to write comics.  Then, once he wrote comics, he wanted “to do something that was good enough for him. He remembered giving Signal to Noise to Eisner, in an elevator, and then listened to Eisner while he told Gaiman his thoughts on Signal to Noise.  All of the panelists conveyed the sense that Eisner was not just generous to the younger generation but genuinely interested in their work.  One reason, Gaiman said, was that Eisner “wanted it [comics] to expand. He wanted it to embiggen.”

Here is an amusing exchange about Scott McCloud’s Understanding Comics, which Neil Gaiman read when it was still in draft form.

Scott McCloud: I was a stone-cold formalist. Neil had to harangue me into a chapter about storytelling.

Neil Gaiman: I don’t know that I harangued you. I remonstrated.

Levitz says, “Let’s get back to influence.”  Gaiman tells the following story:

I interviewed Will.  The last one we did was on stage.  And we talked for an hour.  … The bit of the conversation I remember was asking will why he kept doing it…. Why are you bringing graphic novels out now at an age when all your contemporaries are retired are dead or both.  And he started talking about a film which he saw in which Kirk Douglas played a trumpet player, and he was looking for the note.  And if he kept playing his trumpet , he would find the note, and he could finish.  And he described his entire career as being in search of the note.  He knew he could hear this thing somewhere up ahead, and he wouldn’t need to do anything after that.  And he’d finish it, and he’d look at it, and the note would still be moving across the horizon, and so he’d still keep looking.

Jeff Smith offers, “Will provided a good example of how to do a career.  I’d look at him and say I want to do that job.  That’s a good job. …. Will was still really active…. He was still present, he was still around.  That’s the model.  Why not go for it?  Why stop?  This was my sense from him.”

McCloud says, “I’d go one step further and say that he was certainly a role model for me. He was pretty much the whole package.  I saw the relationship he had with Ann.  I wanted to have that kind of relationship with my wife, Ivy.”  McCloud notes, too, that Eisner “was always open to change” and that he was “optimistic — in the good sense of the word, not the deluded sense.”

Kitchen adds, “He was intellectually curious.  He was not like most old people I knew.  Of his generation, no one else was even willing to read underground comics.  He not only looked at them.  They influenced him.  It was people like Justin Green and Jack Jackson that he found very influential.  He was happy to talk about it, and he was happy to credit them.”

Neil Gaiman asks, “Do ever you think it would be interesting if he had really done the autobiographical comic that he could have done?”

Will Eisner, The DreamerKitchen: The Dreamer is the closest he comes.

Gaiman: The Dreamer is a kind of greatest hits. He kind of flirted with autobiography. He took his experience, and he Eisnerized it.

Kitchen: The Dreamer is the one where he pulled his punches.

Kitchen also tells us that he had to push Eisner on The Dreamer, trying to get him to say more.  Eisner, explained that he couldn’t do autobiographical comics because “I’m not like Crumb. I can’t let it all hang out.”

Jeff Smith recalled that, when Scholastic wanted to publish Bone, Smith said OK, if you’re going to do that, you have to put it with the other books.  You can’t put it with the Dungeons and Dragons.  He added “That was me channeling Will.”

Neil Gaiman observed, “He set up the publishing model that gave him The Spirit. I encountered Will [Eisner’s work] for the first time in a proto-comics shop when I was 15.  … On the wall in this basement was The Spirit, no. 2, Harvey edition.  I had no idea they were done in the 1940s. They were the best storytelling I’d ever seen. … Will, unlike pretty much everyone else of his generation, had not sold his baby.”

Levitz introduces the topic of what was learned from Eisner.

Gaiman answers, “Share knowledge. Be collegiate. That was one of the most interesting things I learned.” Smith and McCloud concur.

There was no time for audience questions.

Team Cul de Sac

Chris Sparks, Lincoln Pierce, Mark Tatulli, Lucas Turnbloom, Jenni Holm, Matthew Holm, Andrew Farago, Shaenon Garrity, Rob Harrell

Deftly moderated by Tom Racine, this all-star panel included Chris Sparks, Lincoln Pierce, Mark Tatulli, Lucas Turnbloom, Jenni Holm, Matthew Holm, Andrew Farago, Shaenon Garrity, Rob Harrell.

Richard Thompson's Cul de Sac Golden Treasury (2010)First, if you haven’t read Richard Thompson’s Cul de Sac, what are you waiting for? Though Thompson’s Parkinsons has (temporarily?) cut short its run, the strips have been collected in several volumes, and The Complete Cul de Sac is due out this fall. In the early days of this blog, I did a brief post on it. But you should go and read the strip itself.

If you’re not a Cul de Sac fan, you may not know about Chris Sparks’ Team Cul-de-Sac: Cartoonists Draw the Line at Parkinsons, a book which has raised over $105,000 for Parkinsons research. Sparks, who invited cartoonists to contribute to a book honoring Cul de Sac and Thompson, won the Bob Clampett Humanitarian Award at the Eisners last night.

Sparks tells of how he met Richard Thompson, and how devastated he was when he learned that his favorite comic-strip artist had contracted Parkinsons.  He read Michael J. Fox’s book Always Looking Up: The Adventures of an Incurable Optimist, and decided that “If a rich good-looking movie star could do this, then so could a poor web designer.”

Here’s what some of the other panelists had to say about Thompson and Cul de Sac:

“The best comic strip since Calvin and Hobbes, one of the best comic strips of all-time.”

— Lincoln Pierce

“He’s one of my heroes”

— Lincoln Pierce

“Petey is one of the most perfect comic strip characters of all time. I used to think you couldn’t do better than Charlie Brown, as the everyman.  And yet Petey is more idiosyncratic….”

— Lincoln Pierce

“What I love about Richard’s work is that it doesn’t appear to have any sort of forethought….. It’s very natural and very loose”

— Mark Tatulli

“Petey is my favorite character…. I can remember that from my childhood”

— Mark Tatulli

“I thought there was a lot of mediocrity in the comics, and it’s just not fair”

— Mark Tatulli, on why he created his specific contribution to Team Cul de Sac

In case you don’t know the strip, here is a Cul de Sac for you to enjoy.

Richard Thompson, Cul de Sac

More quotations from panelists:

“It’s just the perfect comic. It’s one of those things where you look at your work and you think I’m doing it wrong. This is right. And I’m doing it wrong.”

— Lucas Turnbloom

“Our entire adulthood was shaped by Parkinsons.”

— Jenni Holm on her and her brother Matt; their father had Parkinsons

“His writing is so amazing because he just nails family life.  The funny dynamics between the mom and the kids, and the kids and the kids. It’s so hard to pull off.”

— Jenni Holm on Richard Thompson’s writing

“It feels like an autobiographical strip I did as a weird 10-year-old kid, sitting in my room and reading comics while all the other kids are playing baseball.”

— Andrew Farago

“The combination of art and writing in the strip is perfect. … They capture the character and the sense of humor at the same time.”

— Shaenon Garrity

“I worship his art.”

— Rob Harrell

“I don’t want to speak for everybody else, but I feel like we’re all faking it and he’s the real deal.”

— Mark Tatulli

“One of the great things about all comics is that as you read them you see that they have their own obsessions. And one of Richard’s is shopping carts”

— Lincoln Pierce

From Comic Book Artist to Fine Artist Extraordinaire: A Chat with Robert Williams

Karl Meyer, Eric Reynolds, Robert Williams (of course!), Gwenned Vitello, and William Stout

This panel featured Karl Meyer, Eric Reynolds, Robert Williams (of course!), Gwenned Vitello, and William Stout.

I went to this panel because Eric was on it and because I knew nearly nothing about the artist, who (I learned) started as an underground cartoonist — was one of the original Zap Comix artists — and in the 1970s began to create fine art.  The art itself reminds me of Dalí and R. Crumb. Robert Williams is a contemporary of Crumb (and they were/are friends) — so, I’m not suggesting his work is derivative of Crumb, but rather that they’re artistic kin.  Stylistically, Williams does not use Crumb’s squiggly line but Dalí’s crisp, precise, realistic renderings of (often) impossible scenes.  Fun fact for ’80s metal fans: Robert Williams did the original cover art for Guns ‘n’ Roses’ Appetite for Destruction.

A few quotations from the panel.

“The ideas do not come easy. They have to be excreted under pressure.”

— Robert Williams

“He’s taken some of the tropes of comics and infused them into his fine art.”

— Eric Reynolds

“Put enough color and action in there so that it [the image] sticks with ’em [the audience], whether they like it or not.”

— Robert Williams

“There would be no Fantagraphics if it weren’t for Zap Comix

— Eric Reynolds

Another interesting tidbit I learned: Leonardo diCaprio’s father, George diCaprio, was an underground comix distributor.

Williams had lots of great stories, which I would record here … if I wasn’t so fatigued at the end of the day (this panel began at 7).

My Dinner with Eric

What? You think I’m going to write up my dinner with Eric Reynolds? Sorry. This blog post has gotten long enough. We did have a great chat, though — always great to hang out with Eric.  He’s a good person, and I feel very fortunate to be working with him on the Barnaby books.  Oh, did I mention — another signing on Sunday, 2-4 pm, Fantagraphics?  I did?  Good, then I’ll see you there, at booth 1718.

The rest of my 2013 Comic-Con coverage:

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Comic-Con, San Diego, Friday, July 19

And now, a few notes from day 3 of Comic-Con 2013.

A Simple Repast, Coming This Fall

Jerry Griswold invited me for breakfast at the Broken Yolk, which (we discovered) had been leased by the TruTV television show (Impractical) Jokers. As we sat at the table, we noticed that a laminated advertisement fully covered the table’s surface. Then, a smiling young woman employed by the network stopped by to hand out an advertisement disguised as comic book. She also invited us to flick a spinner on a plastic wheel, to win a prize. I did and won a sturdy keychain bearing the name of the network. So did Jerry. For those who are interested, the television program seems to involve four white men getting into mischief. Alleged hilarity ensues.

Brought to You By

advertisement on side of building, San Diego

Advertising covers every available surface at the Con itself. The sides of buildings, the sides of buses, the sides and backs of bicycle taxis, the sides of people. To be at the Con is to be immersed in glossy appeals from the entertainment industrial complex. Not that anyone expected otherwise.

advertisement on side of bus, San Diego

Juxtaposed Images vs. Juxtaposed Text and Images: Smackdown!

Philip Nel, Scott McCloud, R.C. Harvey

While loitering at the Fantagraphics booth, I met R.C. (Bob) Harvey, whose work I’ve read and admired for years.  Then, Scott McCloud strolled up to chat.  Haven’t seen him in, oh, 5 years at least. Great to see him again. As if on cue, these two theorists of comics — with opposing views on how comics work — began a friendly debate. As my students (and, really, all people who are serious about comics) know, Scott McCloud, following Will Eisner, defines comics as “Juxtaposed pictorial and other images in deliberate sequence.” For Harvey, however, the key juxtaposition is between text and images.

Here is a slightly sketchy, inaccurate recreation of our conversation:

Harvey: Have I convinced you yet that text are part of comics?

McCloud: Isn’t text a kind of image?

Harvey: When a definition gets too broad, it loses meaning.

McCloud [not taking the bait]: That can happen, true.

Me: There should be a panel — at a future SPX? at a future Comic-Con? — with both of you, Mark Newgarden and Paul Karasik — debating how comics work.

McCloud: And Dylan Horrocks. Have you read his “Inventing Comics”?

Me: No. Where would I find it?

McCloud: It appeared in The Comics Journal. I think he also has it on his website. It’s a very eloquent, smart take-down of me and Understanding Comics.

Me: Thanks.  I’ll check it out.

Gauld = Wry, Topical Gorey

Scott, Karin and I walked over to the Drawn & Quarterly booth, to say hello to Tom Gauld.  I wanted to tell him how much I enjoyed his presentation, and buy a few books — his, the new Spiegelman anthology, more Moomin comics….  But back to Gauld. Later in the afternoon, I read You’re All Just Jealous of My Jetpack, and I think many of my fellow English professors (or, simply, anyone who is a great reader) would enjoy these cartoons.  Rendered with Gorey-esque style and humor, they’re more topical and wry than Gorey. Though some have dark undercurrents, Gauld’s comedy creates a brighter mood. I laugh out loud at these more often than I do at Gorey’s work. The comic below is actually one of the less topical collected in the book, but it’s definitely a keeper.

Tom Gauld

Here Comes Snoopy

I also got to meet Snoopy. (That’s him, on the right.)

Snoopy and fan

My first choice would have been a photo with Charlie Brown, but I understand that he is currently in traction, following an unfortunate, annual kicked-and-missed-football accident.

Drawing Stories: What’s New in YA Graphic Novels

Panel featuring: Vera Brosgol (Anya’s Ghost), Gris Grimly (Frankenstein), Faith Erin Hicks (Nothing Can Possibly Go Wrong), Hope Larson (Who Is AC?, Madeline L’Engle’s A Wrinkle in Time), Paul Pope (Battling Boy)

Moderator Scott Robins asked: What did you read as a teen-ager?

Rumiko Takahashi’s Ranma 1/2Vera Brosgol read Sailor Moon and Pokemon. She got really into manga.  Sheoved Rumiko Takahashi’s Ranma 1/2 and Hiroaki Samura’s Blade of the Immortal.

Gris Grimly responded, “I wasn’t allowed to read comics, but as a kid I would read New Mutants and hide it.  I’d stick it in my backpack between schoolbooks and stuff.  I was really into horror even though I wasn’t allowed to read horror.”  He also admitted that his books are really more children’s books than comics, but that he had always really wanted to draw comics.  As a result, he said, “My books stand out in the children’s book sections because they look like comics.”

Faith Erin Hicks answered, “I am Canadian, and as all good Canadian children do, I grew up reading Tintin and Asterix…. But when I hit my teenage years, I didn’t really have access to comics.  There was one comic book store, but it was terrifying…. I had no access to comic books that were appropriate for a 15-year-old to read.”  She added, “I started making comics because I wanted to make the sort of comics that I wanted to read.”  Getting back to the question, she admitted, “As a teen-ager, I mostly read prose.” She mostly read science fiction.

Paul Pope said, “I read what ever I could find, but the stuff that I lvoed was Dune. I read Heavy Metal magazine.  I loved Carl Barks.  I read Moby-Dick.” These comments made me see immediately why he and Jeff Smith — who recommended Pope’s work yesterday — would be friends.

Hope Larson told us, “I was kind of an anime and manga nerd in high school.  So, Ranma 1/2. And then I got into indie comics — Dan Clowes, that sort of thing.”

Scott Robins asked: How many of you on the panel are readers of YA fiction?  If so, does that play a role in your work?

Rainbow Rowell's Eleanor & ParkFaith Erin Hicks responded immediately: “I’m a big reader of YA. I read one on the plane.” That book was Rainbow Rowell’s Eleanor & Park. She wants to see more YA comics. She would like to see books like Alexie’s Absolutely True Diary of a Part-Time Indian in comics.

Others admitted that they don’t read much YA. Hope Larson responded, “Lately, I don’t have as much time to read. I read YA, but I read my friends’ books.”  Paul Pope said that “Once you start working, you go … down into a trench. All I look at right now is Moebius and Kirby.  I feel like you can do two things. You can either read everything or nothing.  I’m reading nothing.”  Gris Grimly admitted that most of his influences come from children’s literature of over 100 years ago — Alice’s Adventures in Wonderland and The Wonderful Wizard of Oz.

In a discussion of why teens read, Paul Pope said that when you’re a teenager, “You read to enhance your experience.” Teen-agers, he said, are trying to understand their experience, see possible futures. I thought that an insightful comment.

In a discussion of the future of the YA graphic novel, Paul Pope had an explanation for why there are currently so few: “You have to have two disciplines down, a writer and an artist, to do YA graphic novels. And that’s 20 years to become each.”  Though (as she admitted) the author of an adaptation herself, Hope Larson said, “What I would hope about YA comics is that I’d like to see more original fiction and less adaptations.”

In response to an audience member’s question on making comics more female-friendly, Faith Erin Hicks said, “Not all girls need to have large bosoms” — which inspired much applause from the audience. Paul Pope agreed: “Comics have been dominated by the male gaze.”

One interesting question that no one really had an answer for is what makes a YA comic book a YA comic book. Gris Grimly wasn’t sure. Faith Erin Hicks said “Because they’re about teenagers.” But, as Ben Towle pointed out in a question, teen-agers often read books about adults. So, not an easy question to answer.

In response to why adolescents read what they do, Paul Pope said: “They trust stories to tell them the truth.  You cannot lie to children in books.”

Humor in Graphic Novels

Left to right: Andrew Farago, Jeffrey Brown, Tom Gauld, Lisa Hanawalt, Ellen Forney

On this panel, Andrew Farago, Jeffrey Brown, Tom Gauld, Lisa Hanawalt, Ellen Forney discussed — you guessed it — humor in graphic novels.

They began by discussing how they got into writing humorous comics.

Jeffrey Brown noted that humor “lets you deal with sometimes serious subjects, but there’s this distance that the humor gives you that grants you a different perspective”

Tom Gauld: “I wanted to be a deep dark soul who was tormented, but I just wasn’t. … And I’ve found that through that humor, you can still have a depth….”

Lisa Hanawalt: “It was a way of interacting with other people if I was shy”

Ellen Forney, MarblesEllen Forney: “I think having a sense of humor is a great way of coping with life.”

Lisa Hanawalt: “Sometimes the funniest things are the saddest things.”

Tom Gauld: “A lot of humor comes from things failing…. For something to be funny, you need that balance — funny and sadness, and awkwardness.”

Next, Andrew Farago (our moderator) switched to background in cartooning, asking “What led you here today?”

Jeffrey Brown: “About 15 years ago, I started writing autobiographical comics. And I focused on the most awkward things. I was trying to show how stupid I was.”

Tom Gauld: “The thing I do — the weekly thing for the Guardian — and so every week, I think that the joke is like a little machine that I’d like to make work. And it’s not really about anything else other than itself.  Whereas in a longer work, the joke is in service to the story. The joke comes out of the situation. It can’t be funny all the time.”

Tom Gauld, The Poetry Gene

Lisa Hanawalt: “Comics are the most efficient way for me to take whatever I’ve been experiencing in my life”

Ellen Forney: “Telling — especially retelling — something that was intense or awkward is a way of owning it, controlling it.”

Andrew Farago observed, “Every time I’ve done a panel with humor as a topic, it’s always become about misery”

Tom Gauld added that there’s the idea that “‘Happiness writes white’ because when it’s happy there’s nothing to say”

Tom Gauld noted that people think that writing cartoons must be fun. He acknowledged that, when you get the idea, it’s great. “On either side of that moment, I get a kind of brain smile. But the rest of the time, it’s just a man sitting alone in a room.”

Asked where they draw inspiration from, the cartoonists answered….

Tom Gauld: “My work’s abstracted from the world. It’s not really autobiographical.”

Lisa Hanawalt: “I take a lot of notes”

Ellen Forney: “just observations from the day”

Next question: Are long-form versus short-form radically different processes for you?

“A really short comic can be a bit like writing a haiku, because everything really matters” replies Tom Gauld, who admits he “likes the constraints.” Gauld also explained how he helps people get the joke. He’s always thinking, he says, “Someone who hasn’t been on this thinking journey that I’ve been on, how can I leave little markers for them that will lead them to this hilarious conclusion?”

A Tribute to Kim Thompson of Fanagraphics Books

Eric Reynolds, Gary Groth, Diana Schutz, Gilbert Hernandez, and Jaime Hernandez Fantagraphics publishers (and partners of the late Kim Thompson) Eric Reynolds and Gary Groth joined Diana Schutz (of Dark Horse), and Gilbert Hernandez and Jaime Hernandez (whose Love & Rockets is published by Fantagraphics) to remember Kim Thompson.

As Gary Groth noted at the start of the panel, to learn more about Kim, everyone should take a look at the triubutes to Kim on the Fantagraphics website (I think he means The Comics Journal website, because that’s where I found them).

Recalling being hired (at Fantagraphics) by Kim, Diana Schutz noted that there were a lot of other women who Kim had reached out to. “Back in the ’80s, there were not a lot of other women who were interested in comics. In a lot of ways, we were ignored. So, it was a great honor to be asked to contribute.”

Kim Thompson & EisnersJaime Hernandez saw Kim as something of an enigma. Imagining saying hello to Kim, he said, “Sometimes it was just “Hey, Kim,” and then Kim’s reply would be “Hey.” And that would be the end of the reaction. Then, Jaime said, “In the Comics Journal, there’d be this review attacking Frank Miller, and I’d wonder: is that the same Kim?”  Recalling that article, (Kim Thompson’s review of Frank Miller’s Ronan), Gary Groth said that when he and Kim Thompson were out with Harlan Ellison, Ellison took exception to Kim’s review.  Gary argued back, vigorously defending Kim’s review.  Kim, however, said nothing.  He preferred to argue on the page.

“He was part French bohemian, part comic book nerd, part American punk”

—Eric Reynolds

When he wanted something, Kim would be more outgoing. Affecting Yogi Bear’s voice, Gilbert Hernandez demonstrated: “Heyy, Diana! I’m coming to California!” He explained that Kim “had a way of trying to talk like Yogi Bear when he was trying to get something.”

I found especially interesting the list of novelists Kim Thompson liked (according to Gary and Eric):

  • Cormac McCarthy
  • Douglas Adams
  • P.G. Wodehouse
  • Terry Pratchett

“Fantagraphics publishes the best comics that are currently available, but Kim’s tastes were wider.”

— Diana Schutz

Eisners: It’s an Honor Just to Be Nominated

Susan Kirtley, Lynda Barry: Childhood Through the Looking-GlassCongratulations to Susan Kirtley on winning the Eisner for best Educational/Academic Work, for her Lynda Barry: Girlhood Through the Looking Glass — and for being the sole Eisner winner seated at our table.  She was so very happy.  Very cool.

For the record, since half of my book was devoted to a non-cartoonist (Ruth Krauss), I thought it an odd fit with the rest of the nominees — and the least likely to win. That said, I am an optimist and so was nervous… just in case. The moment Susan won, I relaxed. Whew! I didn’t have to get on stage and speechify. But, just in case, I had mentally prepared a few words. Here’s what I would have said:

When I began this project, back in the waning days of President Clinton’s second term, I never thought it would be nominated for such an award — much less be in the august company of my fellow nominees. There are many people to thank, but I’ll restrict myself to four. Thanks to Chris Ware for creating the best cover any of my books has ever had or will have. Thanks to Crockett Johnson and Ruth Krauss, who — though I never met them — became two of my closest friends. Finally, thanks to Karin Westman, who for a dozen years shared her spouse with this book.

Since I couldn’t say that there, I’m saying it here.

The big winner of the night was (no surprise!) Chris Ware, who — if my count is correct — won 5 of the 6 Awards for which he was nominated. Chip Kidd (Ware’s friend and editor) accepted them on his behalf, and performed his role with élan (and a bit of camp).

Oh, and there were a fair few celebrity award presenters: Edward James Olmos, Sergio Aragones, Neil Gaiman, James Marsters. (It is possible that Sergio Aragones is not a celebrity beyond the comics world, but any reader of MAD magazine would know who he is!)

Sergio Aragones at the Eisners, 2013

And as part of a bit Neil Gaiman and Jonathan Ross were doing, Chip Kidd kissed Neil Gaiman. On the mouth.

Kidd and Gaiman, snogging

And… that about wrapped things up for this year’s Eisner Awards.

I’ve never been nominated for such an award before, and am unlikely to be nominated again. I think I have a better understanding of those televised awards ceremonies now. The anticipation (and nerves) until your category’s done. And then, following the deflation, an ability to focus more broadly on what’s going on in the room, even as — lacking the former anxiety — fatigue begins to set in. The Eisners ran for oh, over 3 hours. I don’t remember exactly how long. But this is why other awards shows play the “please get off the stage” music (the Eisners do not). Important to keep the show moving.

We didn’t linger afterward. Ben Towle and I congratulated each other on losing an Eisner Award, and then ’twas time for a pleasant walk back to the hotel to write this up.

Coming Saturday morning at 9 am, another signing at Fantagraphics (booth 1718). Barnaby Volume One! The Johnson-Krauss bio.! The Chris Ware poster for the bio!  If you’re at Comic-Con, stop by!

Chris Ware's cover for Crockett Johnson and Ruth Krauss: How an Unlikely Couple Found Love, Dodged the FBI, and Transformed Children's Literature

 

The rest of my 2013 Comic-Con coverage:

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The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making

Catherynne M. Valente, The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making (2011)The problem with a blurb from Neil Gaiman on a cover is that, invoking Gaiman, it inevitably diminishes the book by comparison.  This is not the book’s fault.  Gaiman is one of our most gifted contemporary writers.  Catherynne M. Valente may not be, but I wouldn’t even be thinking about the comparison if Gaiman’s endorsement were absent from the cover. Her The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making is clever, well-plotted, engaging, and inventive.  It’s not Gaiman, but it is good.

Better points of comparison are L. Frank Baum and J.M. Barrie.  As Barrie does in Peter and Wendy, Valente several times calls children “heartless,” and deploys a narrative voice that shifts between third person, second person, and first person — though it stays mostly in third. As Barrie’s narrator does, Valente’s invokes that heartlessness to consider the child’s desire to abandon home for fairyland: “September did not even wave good-bye. One ought not to judge her: All children are heartless.”  That said, and again following Barrie’s example, Valente does invite us to judge her protagonist.  As many parents are, these narrators are torn between granting the child her freedom and keeping her close by.

Instead of being transported from Kansas via tornado, 12-year-old September gets whisked away from Nebraska by the Leopard of Little Breezes.  Also bringing to mind the Oz books, Valente’s fantastic characters combine nature and machinery in ways that recall Baum’s. There’s Lye, a golem made of soap; Gleam, a lamp that speaks through messages on its shade; and herds of velocipedes (free-range bicycles). Valente also seems to have taken seriously Baum’s goal (in his introduction to The Wonderful Wizard of Oz) to strive for a “a modernized fairy tale, in which the wonderment and joy are retained and the heart-aches and nightmares are left out.”  Valente’s tone suggests that the “good” characters will not come to any harm.  That said, and as is also true of Baum, by about halfway through the book, much that threatens the heroine seems to revoke the promise of a nightmare-free story.  As the narrator observes, “I have tried to be a generous narrator and care for my girl as best I can. I cannot help that readers will always insist on adventures, and though you can have grief without adventures, you cannot have adventures without grief.”

In discussing a few of the many works that likely inspired The Girl Who Circumnavigated Fairyland in a Ship of her Own Making, I do not mean here to deride the book as “derivative.”  All art derives from other art.  What makes something feel original is the way in which it combines all that inspired it.  Neil Gaiman’s books do this work seamlessly. Transformed by his imagination, his influences feel organic.  They don’t feel like influences at all.  To read a Gaiman novel is to get caught up in his world — you may catch allusions to Norse mythology, or Victorian writer Lucy Clifford, but the feeling is something fashioned out of whole cloth.

This is not entirely the case with Valente, though the garrulous narrator may be partially the cause.  Fond of shifting out of third person and offering editorial comments, the narrative voice prevents readers from becoming too absorbed in the story.  Pushing its audience way from such absorption, The Girl Who Circumnavigated Fairyland in a Ship of her Own Making instead gives them space to think about the narrative, the allusions, the books that seem to be Valente’s favorites.  As fans of Lemony Snicket know, such a narrator can also be fun to spend time with.  He (or she) treats the reader like a confidante, suggesting an intimate, even privileged, relationship with the person holding the book.  Valente’s narrator is not only good company; she (or he) is wise, witty, and unpredictable.  As she (he?) admits late in the novel, “I am a sly and wicked narrator. If there is a secret to be plumbed for your benefit, Dear Reader, I shall strap on a head-lamp and a pick-ax and have at it.”

In this review, I’ve deliberately avoided “secrets”: narrative is one of the many pleasures of The Girl Who Circumnavigated Fairlyand in a Ship of Her Own Making.  So, you’ll find no spoilers here.  Featuring a female lead who is both thoughtful and brave, the book is a fantasy that offers a meditation on fantasy’s tropes.  As Dumbledore does in the Harry Potter series, this novel too dismisses the idea that its hero is a “chosen one.”  Late in the book, one of September’s allies remarks, “You are not the chosen one, September.  Fairyland did not choose you — you chose yourself.”

Should you choose to read Valente’s novel, you’ll find it a smart, metafictive tale, with plenty of adventure, humor, and insight.  Neil Gaiman calls it “A glorious balancing act between modernism and the Victorian fairy tale, done with heart and wisdom.”  He’s right.

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