Art dealer (Ernie Bushmiller’s Nancy)

tumblr_lz915f2cmu1qfzuo6o1_1280

Lydia Davis’s “In a House Beseiged,” visually adapted by Roman Muradov

housebeseiged1-1

Enjoy the rest of Roman Muradov’s visual adaptation of Lydia Davis’s microfiction at The Paris Review.

Breakup Comics (Samplerman)

tumblr_o4ystjfeu11u3qyk4o1_1280

Cuniculus Vulgaris (Perry Bible Fellowship)

pbf268-cuniculus_vulgaris

Spring fever (Flannery O’Connor)

img_1692

Flannery O’Connor’s “Now Comes Spring Fever” was originally published on April 25, 1941 in The Peabody Palladium, O’Connor’s high school student newspaper. O’Connor served as the paper’s art director starting in 1940. O’Connor was 16 when she published this comic. Her comics are reprinted in Flannery O’Connor: The Cartoons, Fantagraphics, 2012.

Sex ed (Glen Baxter)

tumblr_o3daxjPaNw1r5zbdgo1_1280

Voyage d’Hermès — Moebius

moebius-voyagehermes-2

Spelling (Glen Baxter)

tumblr_o04n2sl5wz1r5zbdgo1_500

Last Day (Peanuts)

last day

Merry Christmas from Winsor McCay

“Failing Up with Jar Jar Binks” — Peter Bagge

FUWJJB_01

Read the rest of Peter Bagge’s “Failing Up with Jar Jar Binks.”

A Star Wars illustration by Moebius

(Via).

Why I Love Comics — Chris Ware

18ware-comics-master1050.jpg

Eddie Campbell’s 1001 Nights of Bacchus (Book acquired, 11.19.2015)

IMG_0657

I took my kids to the bookstore yesterday because they wanted to get some more Choose Your Own Adventure books. We got a bunch of those—and maybe I’ll do a post on those, although I’ve never wanted this blog to be a nostalgia-soaked blog, although maybe that will be a nostalgia-soaked post. My son wanted to check out the comics section; he’s five, and short, and his height matched the “G” section, where he kept grabbing up Green Lantern comics (to which I: put those back). Incorrectly shelved there among the Corps though was Eddie Campbell’s 1001 Nights of Bacchus (to which I: give that here).
IMG_0653The first time I saw Campbell’s art I was shocked. I was 12 or 13—it was in a back issue of Cerebus which I had bought in the comic shop next to the music store where I took trombone lessons (don’t ask)—so, being 12 or 13, I was still capable of shock. Dave Sim had printed (or reprinted?) the prologue, or part of the prologue, from From Hell, Campbell’s book with Alan Moore on the White Chapel/Jack the Ripper murders. What a book. I had never seen anything like that. Campbell’s inky lines seemed savage, severe, violent and sketchy, especially juxtaposed against the work of Sim and Gerhard in that particular issue of Cerebus. (The issue was part of Jaka’s Story).  Continue reading “Eddie Campbell’s 1001 Nights of Bacchus (Book acquired, 11.19.2015)”

Two graphic novels about Paris reviewed: 750 Years in Paris and The Spectators

IMG_0534

Two new(ish) graphic novels from Nobrow, Vincent Mahé’s 750 Years in Paris and Victor Hussenot’s The Spectators, showcase Paris as an enduring site of progression, turbulence, and renewal, both in culture and consciousness. Mahé’s 750 Years in Paris is a time-machine, putting its viewer in a stationary position to observe the dramatic changes in one building—and French society and culture—over the course of nearly a millennium. Hussenot’s The Spectators is a dream-machine, shuttling its characters through different skins, faces, and eyes. The titular spectators transcend not only time and space, but mind. Both books attest to the power of transformation while subtly noting the various forces that shape identity.

IMG_0614

Vincent Mahé’s 750 Years in Paris begins in 1265 and moves its viewer through time to 2015. The book takes us through the Black Death Plague and the 100 Years War, the reigns of Louis XIV and IV, the storming of the Bastille and the Reign of Terror, Napoleon and Hausmann, a grand Metro and a terrible Flood. The second shot in this chronology shows us a Knights Templar procession in 1270. The crusaders remind us that Western history is inextricably bound in violence, religion, and territorial expansion—but also in the exchange of ideas, information, and knowledge. We get to May 1968 with a strong visual context for France’s history of intellectual turbulence.

IMG_0613The book ends in 2015; I’ll let Mahé’s image speak for itself:
IMG_0612

750 Years in Paris shows us that Paris not only survives drastic change, but progresses in the face of violence. When we see, for example, that a winch has been used to hang a Protestant during the St. Bartholomew’s Day Massacre of 1572—

IMG_0615

—it’s worth noting that on the next page, neighbors help each other during a terrible fire. The winch remains in the picture, a visual motif of progress, of building up.IMG_0617

image

Like every Nobrow title I’ve read, Victor Hussenot’s The Spectators is better experienced than described. Its aesthetic is its narrative and its narrative is its aesthetic, flowing from a lovely dream-logic of identity shifts. Who shall I be today?, the book asks.

IMG_0608

The titular spectators try on different skins, wear different hats, look through different eyes. Paris’s metro becomes a labyrinth dream-lab, where the spectators create the world anew by synthesizing known with unknown:IMG_0609

This vision of synthesis carries the narrative through a poetic examination of individuality and society. How much of me is me? Hussenot frames his characters in the geometry of picture puzzles, only to blur the borders that would constrain them.

It’s possible to imagine the spectators of Hussenot’s book gazing on Mahé’s ever-changing Paris building. Or, conversely, we can take Mahé’s building as one of Hussenot’s spectators—another shapeshifter in a city of shapeshifters.

I’ll close with an image from The Spectators that points towards a dream of synthesis, of infinite perspective, of unity. We have here not just a dream, but a vision of progress:

IMG_0610

Poe’s writer’s block (The Far Side)

20140801-165913-61153007.jpg

Paul Kirchner’s The Bus…and The Bus 2 (Books acquired, 10.03.2015)

image

Paul Kirchner’s The Bus is excellent. We know this, yes? Editions Tanibis sent me their copy of the surreal, philosophical strip’s first run. I’ve enjoyed going back through it again (bingeing, to be honest)—Tanibis’s volume is beautiful, crisp, and far more complete than the Imgur album that was such a hit this year.
image

Tanibis also sent along The Bus 2, which publishes late this month, and I’ll have a full review then (some time after Halloween), but for now, a teaser:

02