Dauber clearly knows and cherishes his subject, and readers who share his passion will find plenty to love.
An ambitious attempt to comprehensively map the progression of comics in America.
“This book,” writes Dauber, professor of Jewish literature and American studies at Columbia, “tries to cover the whole shebang, from [Thomas] Nast’s cartoons to the latest graphic memoirs and transmedia corporate productions.” If anything, he understates his intent, because “the whole shebang” also encompasses political and cultural upheavals reflected in the work; social concerns they addressed and the prejudices they reflected, from the explicitly racist and misogynist to restrictions within a field criticized as a White boys club; technological and distributional shifts, from printing presses to computers and from selling through magazine stands to headshops to comic book shops; shifts in the target demographics; and branding, merchandising, and multimedia concerns. Although the presentation of all this well-researched material leads to some narrative discohesion, there’s plenty of delight and revelation for comics fans. Dauber effectively shows how profoundly Mad magazine shifted the landscape, in defiance of the codes to which others submitted, and how Maus and other literary graphic novels would erase the already blurring line between high and low culture that had kept comics on the wrong side of the tracks. There are also the oft-told stories of artists and developers never receiving their due—e.g., how Superman paid big dividends for so many other than its creators, or how Stan Lee received much of the glory at Marvel, at Jack Kirby’s expense. Dauber seems to revel in minutiae, with as many as a half-dozen all but forgotten comics name-checked within a single paragraph as well as offhand references to dozens more. It’s clear that the author, in his diligence, was worried about leaving something out, and the lack of supporting illustrations—the comics themselves—reinforces the adage that a picture is worth 1,000 words.
Dauber clearly knows and cherishes his subject, and readers who share his passion will find plenty to love.Pub Date: Nov. 2, 2021
ISBN: 978-0-393-63560-7
Page Count: 496
Publisher: Norton
Review Posted Online: Sept. 9, 2021
Kirkus Reviews Issue: Oct. 1, 2021
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
A cheeky, gossipy dual biography.
A study of two writers uncomfortably entwined.
After Eve Babitz (1943-2021) died, her biographer Anolik came upon a letter from Babitz to Joan Didion (1934-2021) that startled her. Filled with “rage, despair, impatience, contempt,” it read like a “lovers’ quarrel.” “Eve was talking to Joan the way you talk to someone who’s burrowed deep under your skin, whose skin you’re trying to burrow deep under.” That surprise discovery suggested a “complicated alliance” between the two. In sometimes breathless prose, with sly asides to the “Reader,” Anolik draws on more than 100 interviews with Babitz and many other sources to follow both women’s lives, tumultuous loves, and aspirations before and after they met in Los Angeles in 1967, sometimes straining to prove their significance to one another. “Joan and Eve weren’t each other’s opposite selves so much as each other’s shadow selves,” she asserts. “Eve was what Joan both feared becoming and longed to become: an inspired amateur.” At the same time, “Joan was what Eve feared becoming and desired to become: a fierce professional.” Didion had just won acclaim for Slouching Towards Bethlehem when Babitz, newly arrived from New York, began socializing with her and her husband, John Gregory Dunne. The reticent Didion and the sensual, energetic Babitz could not have been more different, and Anolik clearly prefers Babitz. “I’m crazy for Eve,” she admits, “love her with a fan’s unreasoning abandon. Besides, Joan is somebody I naturally root against: I respect her work rather than like it; find her persona—part princess, part wet blanket—tough going.” Their relationship—hardly a friendship—fell apart in 1974 when Didion and Dunne were assigned to edit Babitz’s autobiographical novel, Eve’s Hollywood. Babitz, resentful of Didion’s attitude and intrusion, “fired” her, pursuing her writing career on her own. Didion soared to literary fame; not, alas, Babitz.
A cheeky, gossipy dual biography.Pub Date: Nov. 12, 2024
ISBN: 9781668065488
Page Count: 352
Publisher: Scribner
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: Aug. 1, 2024
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
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