Thanks to Fables Books, 215 South Main Street in downtown Goshen, Indiana, for providing Commons Comics with books to review. Visit the store or contact them at 574.534.1984 or firstname.lastname@example.org to find or order any book reviewed on this blog.
”Rusty Brown, Part I” by Chris Ware. Pantheon, September 2019. 352 pp. Hardcover, $35. Adult.
“Sprawling” is an adjective frequently applied to the visual and narrative style of vaunted comics master Chris Ware. The above image is only a section of the unfolded cover of his new book, “Rusty Brown, Part One,” but it well conveys the nested, insular, and almost maddeningly complex narrative mapping for which Ware is famous. (See my review of his 2012 book in a box, “Building Stories.”)
“Depressing” is an adjective frequently—perhaps most frequently—applied to Ware’s characters and their stories. In “Rusty Brown,” however, though the characters’ lives are often bleak, the book culminates in an expression of the type of hope and determination that keep Ware’s characters—and, really, the human race—going, even in the face of despair. “Books can’t tell us how to live,” he explains in a recent ”Guardian” interview, “but they can help us get better at imagining how to live.”
As well as how not to live, as some of the characters in “Rusty Brown” suggest. The book runs one by one through the stories of seven protagonists, introduced at the start of the book with film-like credits. The names are all very similar: for example, “W.K. Brown as W.K. ‘Woody’ Brown.” All of the characters either teach at or attend a small private school in Omaha, Nebraska. Though the real-life Chris Ware is associated with Chicago—he lives in the suburb Oak Park, populated by Frank Lloyd Wright buildings and patterns that echo throughout his work—he grew up in Omaha. “Rusty Brown” could be an alternate, “what if?” universe for Ware, especially since an art teacher at the school shares his name. Continue reading ““Rusty Brown, Part I,” by Chris Ware”
“Clyde Fans,” by Seth. Drawn and Quarterly, May 2019. 488 pp. Hardcover, $54.95. Adult.
Drawn and Quarterly sent me a free review copy of this book.
Canadian comics artist Seth cultivates an antique persona, complete with tie, overcoat, fedora, and what look like horn-rimmed glasses. With a given name like Gregory Gallant, you wouldn’t think he’d need a pseudonym.
But Seth likes to push boundaries: between people and their public and narrative personas, as well as between history and fiction. Seth’s first major book, “It’s a Good Life, If You Don’t Weaken,” published in 1996, was supposedly autobiographical, about his search for a “New Yorker” cartoonist who had disappeared from public view. As the book gained popularity, Seth eventually let on that he had manufactured the whole scenario, although much of the detail from the narrator’s life in the story was autobiographical. In an odd twist, despite the book’s fictional core, it’s often cited as the catalyst for an explosion of autobiographical comics that began in the 1990s and has fueled the genre since.
Seth’s just-released “Clyde Fans” is also fictional, although as he explains in an author’s note in the back of the book, it began with a real-life Ontario storefront of the same name, which he used to walk past. The office was closed, gathering dust, but he could see two framed portraits on a back wall, and wondered about the story behind those two men and their defunct business. He began writing a serial comic about Clyde Fans and the two brothers who ran it, whom he named Abe and Simon. Abe narrates in the image below, and you can see the two portraits hanging on the wall behind him before the frames zoom in for close ups:
Continue reading “The Weight of Memory: “Clyde Fans,” by Seth”
“Why Art?” by Eleanor Davis. Fantagraphics Books. February 2018. 200 pp. Paper, $14.99. Adult.
Thanks to Better World Books, 215 S. Main St. in Goshen, for providing me with books to review. You can find or order all of the books I review at the store.
You could read this book in a flash. It’s short. It’s small. You could fold the almost life-sized hands on the cover into your own hands, then carry the book around with you, slipping it in and out of your bag as you enter and exit lines at the grocery store or the bank. I recommend that you read the book this way. Then I also recommend that you sit down with it and give it a second or third read, the time it deserves.
Illustrator and cartoonist Eleanor Davis is finally making a living on her art. Once you learn her style, you’ll see her all over the place. Check out her personal website, and you’ll see work that appeared in “The New York Times,” as well as “The New Yorker.” She’s designed Google doodles, and illustrations and posters for nonprofits like the Bronx Freedom Fund and musicians like Sylvan Esso and the Decemberists. She’s also well known for her work for kids and young adults: her 2008 TOON Book “Stinky” won her the first of many awards to come as her career progressed.
Perhaps to resist being pigeonholed, some of Davis’s recent work has been decidedly adult. “This is an 18 & over twitter! Rude jokes. Sex drawings,” she warns @squinkyelo. Yet some of her recent work for adults has also become gut-wrenchingly sweet. After she wrote “Love Story,” as she admitted to the “Women and Comics” blog, her husband and fellow artist Drew Weing had a hard time believing its sincerity: “He thought there was a catch, some secret bitterness or joke I’d hidden inside there. There wasn’t, though. It’s just a happy story about folks.” Continue reading ““Why Art?” by Eleanor Davis”