Eddie Campbell’s canon of great graphic novels, 1977-2001

Eddie Campbell’s book Alec: How to Be an Artist (Eddie Campbell Comics, 2001) covers the “rise and fall of the graphic” over the course of a few decades. Alec combines memoir with art history and art criticism, all told through scratchy inks and spidery lettering (and plenty of pastiche–Campbell literally pastes the work of other comic artists of the last century throughout the book, along with “serious” artwork  ). While Campbell’s autobiographical stand-in “Alec MacGarry” is obviously central to the story, other figures loom here, including Bill Sienkiewicz (“Billy the Sink”), Art Spiegelman, Stephen Bissette, Dave Sim, Eastman and Laird—and especially Campbell’s From Hell partner, Alan Moore.

How to Be an Artist offers a fascinating and personal look at the time before (and immediately after) comic books reached a tipping point into (gasp!) serious artistic respectability. Witty, warm, and occasionally cruel, Campbell’s book explores the intersection of commerce and art in a very particular place and a very particular time.

The book was especially revelatory for me, I suppose: I transitioned from super hero comics to, like comix in the early nineties, a transition helped by works championed in How to Be an Artist, like Neil Gaiman and Dave McKean’s Sandman books and Dave Sim’s Cerebus. Indeed, the backpages of Cerebus in the late eighties and early nineties operated like a long messy ranty meditation on the theme of “How to be an (independent, successful, self-publishing) artist”—and it was also in the backpages of an issue of Cerebus that I first saw Campbell’s work (the prologue of From Hell was published in Cerebus #124).

How to Be an Artist’s final chapter sees Campbell offer up a canon of “graphic novels” from 1977 to 2001 (I’ve typed out the full list at the bottom of this post). Campbell (or, properly, Campbell’s persona Alec) begins the chapter by dwelling on the problematic term “graphic novel”:

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After resolving to use the term, despite whatever problems might be attached to it, Campbell goes on to point out that, after the success of works like Watchmen and Maus, a glut of so-called “graphic novels” flooded the market place. He then goes about naming the best, those works that represent a “worthwhile phase in the human cultural continuum”:

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The list is organized semi-chronologically; Campbell groups works in a series together, as with Will Eisner’s Dropsie Ave books. Here’s the first page of the canon, to give you an idea of its form and layout (note that the list, like the entire book, is written in the future tense):

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I’ve never read When the Wind Blows.

I’ve also never read, to my shame, the unfinished project Big Numbers (by Alan Moore and Bill Sienkiewicz). Campbell details the drama surrounding why the project was never finished in How to Be an Artist. I’ll have to track it down.

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Campbell includes a trio of Love & Rockets novels. Poison River is the first one I read. I was a junior in high school; I checked it out from the public library. Somehow my mother saw it, flicked through it, and was mortified.

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Campbell seems to split the difference on Dave Sim’s Cerebus, including critical favorite Jaka’s Story along with the later novel Going Home (which sees Sim trying to reign in the project and steer it toward a conclusion). (Nobody asked me but I would’ve included Church & State and Church & State II).

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Joe Sacco’s comix-journalism is excellent, and Campbell includes both Palestine and Safe Area Gorazde. These “graphic novels” (they aren’t really graphic novels, except that they are) expanded what was possible not just in comics, but also in journalism.

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From Hell isn’t the only one of his own works that Campbell includes on his list—he also includes another Alec novel, The King of Canute Crowd. I love the gesture—an artist fully assured of the qualities in his best work. For the record, if pressed to name “the best graphic novel” I would probably immediately say, “Oh, it’s From Hell of course” (and then hem and haw and hedge, bringing up Chris Ware’s Building Stories, the first half of Sim’s Cerebus project, David Mazzucchelli’s Asterios PolypLove & Rockets, etc.).

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Chris Ware’s Jimmy Corrigan shows up on the list, of course. I’m sure Building Stories would be on here too—along with dozens of others—if the list were updated. Indeed, Campbell’s canon (my term, not his), ends with this disclaimer:

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Here’s the full list:

 

A Contract with God, Will Eisner, 1977

A Life Force, Will Eisner, 1985

The Dreamer, Will Eisner, 1986/1991

Dropsie Avenue, Will Eisner, 1995

Tantrum, Jules Feiffer, 1979

When the Wind Blows, Raymond Briggs, 1982

Maus, Art Spiegleman, 1991

V for Vendetta, Alan Moore and David Lloyd, 1988

Watchmen, Alan Moore and Dave Gibbons, 1988

Big Numbers, Alan Moore and Bill Sienkiewicz, 1990

The Death of Speedy, Jaime Hernandez, 1989

Blood of Palomar, Gilbert Hernandez, 1989

Poison River, Gilbert Hernandez, 1994

Jaka’s Story, Dave Sim and Gerhard, 1990

Going Home, Dave Sim and Gerhard, 1999

Alec: The King Canute Crowd, 1990

The New Adventures of Hitler, Grant Morrison and Steve Yeowell, 1990

The Cowboy Wally Show, Kyle Baker, 1987

Why I Hate Saturn, Kyle Baker, 1990

Violent Cases, Neil Gaiman and Dave McKean, 1987

Signal to Noise, Neil Gaiman and Dave McKean, 1992

Mr. Punch, Neil Gaiman and Dave McKean, 1995

Casanova’s Last Stand, Hunt Emerson, 1993

Tale of One Bad Rat, Bryan Talbot, 1995

City of Glass, Paul Auster/David Mazzucchelli, 1994

The Playboy/I Never Liked You, Chester Brown, 1991/1994

Stuck Rubber Baby, Howard Cruse, 1995

Palestine, Joe Sacco, 1996

Safe Area Gorazde, Joe Sacco, 2000

Ghost World, Daniel Clowes, 1997/2000

It’s a Good Life If You Don’t Weaken, Seth, 1997

Ethel and Ernest, Raymond Briggs, 1998

Gemma Bovery, Posy Simmonds, 1999

Cages, Dave McKean, 1998

Uncle Sam, Steve Darnall and Alex Ross, 1998

From Hell, Alan Moore and Eddie Campbell, 1999

Hicksville, Dylan Horrocks, 1998

The Jew of New York, Ben Katchor, 1998

Jimmy Corrigan, the Smartest Kid on Earth, Chris Ware, 2001

Goodbye, Chunky Rice, Craig Thompson, 1999

Dear Julia, Brian Biggs, 2000

Berlin, Jason Lutes, 2001

 

 

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Paul Kirchner’s Awaiting the Collapse (Book acquired, 2 Nov. 2017)

Awaiting the Collapse collects some of the finest and most surreal comix from Paul Kirchner, from the 1970s up through this decade. The book is big and bold and gorgeous. Here’s the back cover:

Awaiting the Collapse is new in hardback from Tanibis Editions, the same good people who brought us hardback editions of The Bus (which I reviewed here), and The Bus 2 (which I reviewed here). A large portion of Collapse features Kirchner’s surreal western Dope Rider strips, which have been hard to find on the internet. It also collects the covers that Kirchner did for Screw magazine, as well as dozens of other one-offs and vignettes, comix in different modes, moods, and manners.

The collection ends with a nice long essay (including numerous photographs, strips, and illustrations) by Kirchner called “Sex, Drugs & Public Transportation: My Strange Trip Through Comics.” I haven’t gotten to it yet because I’m trying to restrain myself from gobbling the collection up all at once.

Here’s Tanibis’s blurb:

This third collaboration between French publishing house Tanibis and comic book artist Paul Kirchner is a collection of the artist’s works, most of them initially published in counter-culture magazines in the 1970s and the 1980s and some dating from his return to comics in the 2010s.

Roughly a third of the stories star Dope Rider, the pot-smoking skeleton whose psychedelic adventures take him through colorful vistas equally reminiscent of Sergio Leone’s spaghetti western films and of the surrealistic paintings of René Magritte and Salvador Dalí. These stories were originally drawn for the marijuana-themed magazine High Times but were also for Kirchner an excuse to create his very own brand of visual poetry.

An other third of the book is a miscellaneous collection of comics whose stories range from the loony (the sextraterrestrial invasion of Earth in “They Came from Uranus”) to the satirical (“Critical mass of cool”) and the outright subversive (if you ever wondered what games toys play at night, read “Dolls at Midnight”).

This book also features a broad selection of the covers Kirchner made for the pornographic tabloid Screw in the 1970s.

Awaiting the Collapse finally contains a previously unpublished essay by Paul Kirchner about his career and his influences, which helps put in perspective the works published in this book.

I promise I’ll have a review of Awaiting the Collapse up soon; for now, let me just underline my enthusiasm—it’s weird and wonderful and gorgeous stuff.

2001, Blaise Larmee’s enigmatic deconstruction of the graphic novel (Book acquired, 16 Oct. 2017)

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Blaise Larmee’s 2001 is new from 2dcloud. It showed up at the house a few weeks ago, its minimalist cover strange and intriguing.

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I’m not sure what the book is—is it a sort of metatextual commentary on Larmee’s webcomic of the same name? A kind of autobiographical riff? A deconstruction of the graphic novel form?

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What Larmee’s book is is not as compelling, ultimately, as how it is—sketchy, loose, messy; littered with hi-res scans–receipts, crushed cans and bottles, a house key—scraps from the real that call attention to the narrative’s artifice.

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2001 is strange and fascinating in its fragmentary, elusory nature. Check it out.

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100 by Jack Kirby

Art by Jack Kirby (et al), 28 Aug. 1917-6 Feb. 1994. The images in this post come from numerous sources, but the majority come from Mars Will Send No MoreMars Will Send No MoreMars Will Send No More, Cap’n’s Comics, and The Jack Kirby Museum.

Perseus, whaleman (Melville/Sienkiewicz)

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From Bill Sienkiewicz’s adaptation of Herman Melville’s Moby-Dick. The Classics Illustrated edition (February 1990) is one of my favorite Moby-Dicks.

Sunday Comics 

From Richie Pope’s Fatherson, issue #13 of Youth in Decline’s monograph series Frontier. It’s so, so good. My review.

Sunday Comics 

From “Batman with Robin the Boy Wonder.” Art by Tony Millionaire, story by Chip Kidd, colors by Jim Campbell.  From Bizarro World, DC Comics, 2005. 

Sunday Comics 

Sunday Comics 

“Dead Dick” by Art Spiegelman, 1989. From The Best Comics of the Decade: 1980-1990, Vol. 1, Fantagraphics Books, 1990. Originally published in RAW vol. 2, #1, 1989.

Sunday Comics

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Today’s Sunday Comics entry is a page from Chris Ware’s magnificent 2012 novel Building Stories (Pantheon Books).

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I had occasion to look through Building Stories again this week. I had to paint a room, which required moving books from shelves, which meant unshelving Building Stories, which unwieldy beast that it is, has been covered in other books for a few years. Building Stories takes the form of 14 different sized books in a box—it’s pretty hard to shelve in any accessible way, which is a shame (but also a pleasure). Ware’s opus seems to me one of the best American novels of the past decade, but I think its greatness tends to get overlooked because a) people are still prejudiced against comics and b) it challenges all the “reading rules” we bring with us to novels—there’s not a “right way” to read the novel. You have to put it together your self, in a sense. Anyway, for me the page above, which is the last page of the chapter called “Disconnect,” is the “conclusion” of the novel, a sort of metacommentary epilogue that (somehow) ties the narrative threads together in a moving and satisfying “end.”

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Sunday Comics 

Cerebus #166, January, 1993 by Dave Sim and Gerhard; published by Aardvark-Vanaheim. This issue is Chapter 16 of the Mothers & Daughters storyline, Sim’s imagining of a tyrannical matriarchal state (sort of like The Handmaid’s Tale in reverse, sort of). This issue is one of my favorite chapters in the novel, a riff on Sim’s earlier “Mind Games” issues, wherein Cerebus’s dream-state shapes events in the real world. Mothers & Daughters is pretty much the last good Cerebus novel, before Sim took things completely off the rails in Reads.

Sunday Comics

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A page (and some details) from Bill Sienkiewicz’s adaptation of Herman Melville’s Moby-Dick. The Classics Illustrated edition (February 1990) is one of my favorite Moby-Dicks.

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Can’t stand it

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Sunday Comics

Swamp Thing #34 (March 1985), “Rite of Spring” is one of the best “mainstream” comic books I’ve ever read. I need to write a full thing on it, but for today, some panels, splashes, and the cover. Art by Stephen Bissette and John Totleben; coloring by Tatjana Wood. Script by Alan Moore.

Sunday Comics

Pages and panels from “The Parliament of Trees,” Swamp Thing #47 (April, 1986) by Alan Moore with guest art by Stan Woch and Ron Randall and colors by Tatjana Wood. Seemed appropriate for Earth Day weekend (and I’m still burning through Moore’s run on Swamp Thing.

In this issue, Swamp Thing goes to South America via his death/resurrection power.

–and gets a new “costume”—

He meets other flora Elementals: There’s a cool splash page:

Sunday Comics

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Some panels and the cover of Swamp Thing #37, June 1985. Script by Alan Moore; art by Rick Veitch and John Totleben with coloring by Tatjana Wood. It’s in this issue that Swamp Thing realizes he has the power to resurrect himself. Happy Easter!

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Sunday Comics

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Three (noncontiguous, nonconsecutive, unrelated) panels by Moebius from various comics in Moebius 3: The Airtight Garage (Epic Comics/Marvel).