It’s here!


As you can see from this image, our cat Rosie carefully inspected the author copies of Captain Marvel and the Art of Nostalgia that arrived from the University Press of Mississippi last week. After she determined that each copy was ready for the public, I began mailing them out on Christmas Eve. Once I get over the holiday bug that struck me down over the weekend, I’ll begin adding regular updates and new material to this site about the book.

In the meantime, here are a few quick updates:

My fellow Irishman Emmet O’Cuana has the book’s first review up at the site Hopscotch Friday.

I wrote an article for the new issue of Alter Ego/Fawcett Collectors of America about Steamboat. The article is based on Chapter 4 of the book. You can read a short preview here or order a copy from the TwoMorrows website.

Meanwhile, you can order the book from Barnes and Noble or directly from the UPM website. Amazon should have it in stock by the first week of January. Please also support your local bookstore! Here in Chicago, places like Unabridged Books and the Seminary Co-Op, two of my favorite shops, would be happy to order a copy for you. Or why not try Quimby’s or Chicago Comics or Third Coast Comics? Diamond should have it in the next couple of weeks two–despite the fact that there’s an error on their site listing it for June 28, 2017! (I am a perfectionist, believe me, but I have my limits). And, of course, if you’re here in Chicago, I will be happy to sign your copy. I might even draw something in it.

Like Alan Moore, I believe very strongly that, as he puts is, writing “is literally magic.” One of my goals, especially in the second half of the book, is to conjure the Utopian spaces that filmmaker Jack Smith imagined in his work. Those radical, welcoming, open, and loving spaces, like the ones Smith imagined at the center of his ideal city, might, especially now, seem as distant and strange as Billy’s subway tunnel or the legends that Bill Parker and C. C. Beck had in mind when they came up with the idea for Captain Thunder in 1939. But I believe that the kind of world Smith describes here is necessary, possible, and inevitable:

” . . . I can think of other types of societies . . . Like in the middle of the city should be a repository of objects that people don’t want anymore, which they would take to this giant junkyard. That would form an organization, a way that the city would be organized . . . the city organized around that. I think this center of unused objects and unwanted objects would become a center of intellectual activity. Things would grow up around it.” –from Jack Smith, Meet Me at the Bottom of the Pool (Eds. J. Hoberman and Edward Leffingwell, New York: High Risk Books, 1997)

Thanks for reading. More updates to come.



So, it’s almost here! I started working on what would become Captain Marvel and the Art of Nostalgia, from the University Press of Mississippi, in the spring of 2011. I wanted to write a book modeled after Paul Schrader’s Transcendental Style in Film, one of my favorites. I thought I’d select four or five artists (or writer/artist teams) and study the spiritual dimension of their work. In that original outline, I included chapters devoted to John Porcellino, Carrie McNinch, James Sturm, Edie Fake, and C. C. Beck and Otto Binder’s Captain Marvel. Then I wondered, will anyone but me want to read this?!

I ended up writing the essays on King-Cat, The Revival, and Gaylord Phoenix, three of my all-time favorite comics. Then, as I started my research on Beck, I thought, should I write a whole book on Fawcett’s Captain Marvel? I wasn’t much of a fan as a kid. I knew the character mostly from the Saturday morning live action TV show, which I always dreaded, because, on our local CBS affiliate in Connecticut, it followed the cartoons, which meant that Saturday morning was coming to a close. The only upside? My dad would probably make a grilled cheese sandwich for me.

But sometime in the late 1990s I found a stack of DC’s Shazam! revival from the 1970s at one of Hal Kinney’s comic book shows at the Elks Hall in East Hartford, Connecticut. I started to pay attention: I adored Beck’s clean, simple drawing style, and the reprints of Fawcett’s Golden Age stories introduced me to Otto Binder’s witty, strange, and charming scripts. Soon, I began to notice affinities between that research and other work I’d been doing on my maternal grandfather, Nunzio Stango. Born in 1913, he was a World War II vet who joined the Army around the same time that Billy Batson, Captain Marvel’s alter ego, signed up in the summer of 1942. My grandfather and his Army War Show buddies show up in Chapter 3.

While working on the Epilogue, I realized that I wasn’t writing about Captain Marvel so much as I was writing about one of his biggest fans, essayist and science fiction writer Harlan Ellison, who graciously consented to an interview in the winter of 2014. He then edited and expanded on that interview for a recent issue of Alter Ego. Recently, I told my students that I learned to write from a series of amazing teachers (more on them in another post) but also from two books: John E. Warriner’s English Grammar and Composition (the Franklin Edition from the 1980s) and Ellison’s short story collection Shatterday, first published in 1980. I hadn’t read Ellison’s book in years, but perhaps I should not have been surprised when I opened it this summer and noticed this passage from the introduction to “Jeffty Is Five,” a short story about a little boy who finds himself locked in the past:

This is not one of those embalmed adorations of nostalgic sentimentality. It merely suggests for your consideration that there are treasures of the Past that we seem too quickly [and] brutally ready to dump down the incinerator of Progress. At what cost, it suggests, do we pursue the goal of being au courant? (Ellison 10)

In writing my first book, I’d found my way back to the very first collection of stories I’d fallen in love with as a young reader. But that’s how nostalgia works, right? That process, as a friend recently reminded me, is what Mircea Eliade called the “eternal return,” a series of rituals that (if we’re lucky) lead us back to Saturday morning, to the Zenith TV, to the ghosts in the hydrangea tree, to the plastic toy soldiers buried in the garden, to the Andrews Sisters and the clock radio, to the toy box filled with comic books.

You know what? Music does the work better then words, sometimes. I wish I’d found a footnote for Return to Forever’s great tune “Captain Marvel.” But since I didn’t have space for it, you can listen to it right here as you take a look at Keiler Roberts’ drawing for the book’s cover.

Meanwhile, over the next several months, I’ll post regular updates about the book, including more material and ideas that didn’t make the final cut. I hope you’ll find something you like.

Or, you know, if you need a soundtrack that matches the title for this post, here’s “Soon” by My Bloody Valentine.

ICAF 2016!

In a few hours, I’ll be headed to Columbia, South Carolina for the 2016 International Comic Arts Forum at the University of South Carolina. On Saturday I’ll be presenting a paper on a panel called “Comics Readers” with three amazing friends and scholars: Qiana Whitted, Carol Tilley and Chris Pizzino! Can’t be there? Here’s a little preview of my paper, which is based on some material from my upcoming book from the UP of Mississippi, Captain Marvel and the Art of Nostalgia. I’ll also be moderating a panel on Thursday and giving out official Comics Studies Society buttons and bookmarks at the ICAF info table over the next couple of days (haven’t joined the CSS yet? You should before the founding membership drive closes tomorrow, April 14th!). Come by and say hello!

My paper features a big cast of supporting characters: Billy Batson, Captain Marvel, Mr. Tawny, Harlan Ellison, Roy Thomas (who’ll be at ICAF on Saturday, I hope with one of his capybaras), Isaac Asimov, C. C. Beck & Pete Costanza, Henry Kuttner, and Hoagy Carmichael (to name just a few). Email if you’d like to read the rest of it (or for the Works Cited).

Now I better go feed the cats and finish packing.

from “‘Tiny Flashes of Light’: Otto Binder and Nostalgia in the Comic Book Fanzines of the 1960s”

Even a talking tiger gets writer’s block sometimes. For Billy Batson’s best friend Mr. Tawny, it happened often, first in “Captain Marvel Battles the Plot Against the Universe” from September, 1949. Hard at work on his memoirs, Tawny realized that his story would not be complete without the facts on Captain Marvel. Billy, acting as a kind of magical research assistant, offered a first-person account of the stranger, the subway tunnel, and the mysterious train ride.


Then, a few years later, Mr. Tawny undertook a new project, a book called Homing Habits of Hibernating Animals. In this three-panel sequence from Captain Marvel Adventures 126 (November 1951), written by Otto Binder and drawn by C. C. Beck (most likely in collaboration with Pete Costanza), Tawny, a pencil clasped in his right paw, struggles to finish his masterpiece. Most of all, he is afraid of being alone: “Night after night I scribble away in my study, writing this dry old book!” he admits. “ I live in obscurity! Nobody ever hears of me!”

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In the yellow light cast by his desk lamp, we see his manuscript, almost complete, along with two more sheets of paper and a couple of extra pencils. His shelves are lined with books, and he wears a green and purple dressing gown. In the next panel, after lamenting the fact that he’ll never “make the headlines,” “win an Oscar,” or find himself in a “a hall of fame,” he looks up from his work, his reading glasses perched on the bridge of his furry nose, and exclaims, “I’m getting nowhere in life! I’ve to make a change!” Billy arrives just in time to comfort his friend. “Holy moley!” he exclaims. “What’s wrong, Mr. Tawny?”

In an essay about the real-life counterparts of Captain Marvel’s cast of characters, Beck, Binder’s friend and long-time collaborator, revealed that “Mr. Tawny, the talking tiger, was actually . . . who else? Otto Binder!” (“The Human Quality” 29). The writer, he added, “had a lot of fun laughing at himself in the Mr. Tawny stories” (29). Binder filled Tawny’s adventures with autobiographical traces that offer insights into the complex relationship between comic books and nostalgia. Perhaps this was because the character, as Binder noted in a 1964 letter to Roy Thomas published in the fanzine Alter Ego, “lent himself more to orthodox concepts” (“Special!” 111). That is, Tawny struggled with an adversary Captain Marvel never had to face: time itself, and an inevitable descent into middle age.

In that remarkable Alter Ego letter, Binder provided comics historians with a portrait of his long career, including his memories of the popular Monster Society of Evil serial and his opinion on the outcome of the National v. Fawcett copyright infringement case. By 1953, when Fawcett settled with National and discontinued most of its comic book line, including all of its Marvel Family titles, Binder had written, by his own count, “a total of 529 stories about the Big Red Cheese alone, for earnings of $37, 358” (“Special!” 111). He was proud of his success and grateful for the stable, middle-class life it provided for him and his family: “My present-day home in Englewood, New Jersey,” he noted, “was dedicated at a Fawcett party as being ‘The House That Captain Marvel Built.’ Truer words were never spoken. He paid for it twice over” (112). At the close of this letter, however, Binder, always generous and kind to his readers, offers a gentle word of warning. Here, he actively resists what the late theorist Svetlana Boym has called that “romance with one’s own fantasy” that often characterizes nostalgic reflection (xiii). Binder, who’d spent so much of his career imagining the future, offers some advice to those who would study the past. “The above reminiscences,” he begins,

disjointed and seemingly narcissistic, are offered only with the thought of shedding some insight on those days of yore when comics were in flower. To attempt any sweeping, definitive picture is madness. Only in the tiny flashes of light given by individual anecdotes and recollections of those of us in the field as pros at the time can come any rational picture of what to me is still an incomprehensible rise-and-fall of a great empire—the world of picture-story heroes whose peers will never again be seen. (Binder, “Special!” 112)

Binder anticipates one of the challenges scholars continue to face: how does one tell this story? And what role has nostalgia played in shaping the history of comics? In Comics Versus Art, Bart Beaty reminds us that key members of what he calls “the second wave of organized comic book fandom” in the United States often “wrote nostalgically” and with great affection about comics from the 1940s and 1950s (154). These fans, many of whom admired and corresponded with Binder, also, as Beaty points out, were instrumental in the development of “comic book specialty stores, comic book conventions, fan magazines, comic book price guides, and even publishing houses” (154). At the close of the Binder biography Words of Wonder, Bill Schelly claims the writer as a father figure whose “nurturing and supportive actions” (234) inspired several important figures in this “second wave” including Richard and Pat Lupoff, Jerry Bails, Bill Spicer, and Roy Thomas. In the early 1970s, Binder and his wife Ione, still grieving the tragic loss of their daughter Mary, continued to welcome fans, including a young Frank Miller, to their home in upstate New York (Schelly 218-219).

When he died in 1974, Binder also left behind an archive of material—letters, scripts, unpublished essays—some of which are now housed at the Cushing Memorial Library at Texas A&M University. That wealth of material on comics history, however, is only part of Binder’s legacy. For Binder, those conversations with fans in the 1960s no doubt brought back fond memories of his old friends and colleagues at Fawcett. By sharing his memories with this new generation of amateur historians and aspiring writers and cartoonists, Binder introduced this “second wave” to a critical discourse on comics that had its roots in the close-knit community of editors, writers, and artists with whom he’d worked in the 1940s and early 1950s.

In an account included in Jim Steranko’s History of Comics, Binder enthusiastically recalled those spirited conversations: “All of us lived, ate, and dreamed comics in the Golden Era,” he said. “No sooner did two of us get together (or one, if he liked to talk to himself) than off we went on which characters were best—that crazy Jack Kirby’s layouts—Eisner, who can beat him—hey did [Jack Binder’s] shop do 2,000 or 3,000 pages last month—I think I’ll be glad when I’m drafted and get a ‘rest’” (Binder qtd. in Steranko 17). In a 1977 interview with Chris Padovano, Beck also remembered those years with great affection (and with his trademark sarcasm): “The parties we had during the forties are my fondest memories,” Beck told Padovano. “We had no pot or rock music, but plenty of booze and old-time [accordion] and guitar music” (Beck qtd. in Padovano; Binder played accordion and Beck sang and played guitar with his wife Hildur). Although Binder never wrote a sustained work of comics criticism, Beck wrote numerous articles on the theory and practice of making comics for The Comics Journal and for his Critical Circle, a small group of fans and comics professionals with whom he shared his unpublished work in the two years before his death in 1989. In addition to their work on some of the best-selling comics of the Golden Age, then, Binder and Beck were instrumental in shaping the discourse on comics that we, as scholars, have inherited from that “second wave” of fans in the 1960s and from the fanzines and books in which they documented the early years of what Binder called “a great empire.”

In the introduction to The Future of Nostalgia, Boym argues that “[t]he nostalgic desires to obliterate history and turn it into private or collective mythology, to revisit time like space, refusing to surrender to the irreversibility of time that plagues the human condition” (xv). In his Alter Ego letter, Binder cautions against any idealization of the past. The “second wave,” however, set out to preserve and celebrate what it could of that “collective mythology,” to borrow Boym’s phrase. In the introduction to the first issue of The Golden Age of Comics from 1982, for example, Don Thompson and Maggie Thompson describe their vision for “an ideal world” where “nothing would ever go out of print. It should be possible for fans and casual readers alike to obtain the complete Action Comics, the complete works of Milton Caniff, and the entire run of any comic book, comic strip, or magazine at libraries” (4). What they call a “Utopian dream” is now coming true, not only because of websites like The Digital Comics Museum but also because of institutions such as the Billy Ireland at Ohio State and Randall Scott’s Comic Art Collection at Michigan State. Binder and his alter ego Mr. Tawny, however, pose a challenge to these “utopian” visions. If, as Alan Moore once said as he outlined his ideas for his version of Marvelman (Mick Anglo’s British variation on Captain Marvel), “the central appeal of nostalgia is that all this stuff in the past has gone” and is “finished” (Moore 24), then what pleasure is left to us once the past, and all its mysteries, have been revealed to us? Some ghosts are best left alone. Or, as Binder himself wrote in another letter to his old friend Julius Schwartz published in Shazam! No. 4 in 1973, a little over a year before his death, “The comics seem like some long-ago dream and I have no slightest hankering to go back to them, in case you’re wondering” (“Shazamail!”). That “long-ago dream” might provide just the illumination Binder believed necessary for any “rational picture” of comics and their history. It has all the elements of a lost Binder and Beck classic: time, memory, loss, redemption. A little humor. Just imagine: “Captain Marvel, Mr. Tawny, and the Long-Ago Dream.” I like it.

“Forever Sixteen”: Glenn Head’s Chicago: A Comix Memoir

It’s 1975. “This song is called ‘Ain’t It Fun You’re Gonna Die Young,’” the singer says. “It’s dedicated to Jane Scott, ‘cause she’ll stay forever young, forever sixteen. She won’t die young.” When Peter Laughner died in the summer of 1977 at 24, Scott, a writer for the Cleveland Plain Dealer, admitted that she didn’t know the young singer, songwriter, and guitar player very well (read the full article here). He’d been a fixture in the Cleveland music scene, a member of Rocket from the Tombs and Pere Ubu.

Laughner, Scott was certain, “had the talent and the vision to write and produce his own albums. He could have been a national artist.” Lester Bangs describes Laughner’s frightening addictions to drugs and alcohol in another obituary. Scott’s plain-spoken elegy for the Lycidas of the Cleveland punk scene, though not as poetic as Bangs’s essay, is no less true and poignant. Laughner, obsessed with Lou Reed, would no doubt have appreciated Scott’s precision and simplicity: “I didn’t know Peter as well as many of you did, but I, too, feel that I have lost a friend.” Laughner’s name has never disappeared entirely. Gene O’Connor, better known as Cheetah Chrome (and Laughner’s co-writer on “Ain’t It Fun”) took the song with him and recorded it with The Dead Boys in 1978. Guns N’ Roses covered it again in 1993, and, when David Thomas and Chrome reformed Rocket from the Tombs in 2003, the song lived again, this time with Television guitarist Richard Lloyd filling in for Laughner. But that 1975 demo—the muscular, Alice Cooper-like riff, the brittle guitar solo, the withdrawn and deadpan lyrics—is, for rock critic Clinton Heylin, “the definitive version,” complete with a dedication for someone who, Heylin writes, “as predicted, did not die young.” It’s a reply to The Who’s “My Generation,” a broken mirror of a song: “Ain’t it fun when you’re always on the run,” Laughner sings. “Ain’t it fun when your friends despise what you’ve become.”

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I kept hearing that demo, Laughner’s Stratocaster and overdriven Twin Reverb, as I read Glenn Head’s Chicago: A Comix Memoir, just out from Fantagraphics. Like Derf Backderf’s My Friend Dahmer, it’s a story about teenage America in the 1970s. Aside from their stylistic similarities—the debt they own to Kurtzman and Crumb, for example—both artists explore the same dark, suburban corners that obsessed Laughner and his bandmates. This is cartooning as sharp and corrosive as anything you’ll hear on a Stooges or Patti Smith Group record. But even in black-and-white, it’s easy to imagine the mustard-yellow sedans, dark wood paneling, orange shag carpet, olive green bellbottoms and turtlenecks. Glen, the book’s protagonist, hides in his room, its walls covered in posters. Hendrix and Mr. Natural. Copies of Bijou Funnies, Arcade, and Zap Comix, and Naked Lunch (page 11).

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After he graduates high school and leaves New Jersey to study at The Cleveland Institute of Art, Glen antagonizes his professors. “Fuck it, man . . . . There hasta be something else . . . . ” he insists to one of his classmates (33). If he could only decipher the patterns in those comix and in Burroughs’s novels, maybe he could, as he puts it, “start over . . . . ” (33). He gives it a shot in Chicago, where he survives thanks to the kindness of a stranger named Aaron. But the comix underground he’d dreamed about isn’t there, either. The maps were wrong. Or maybe he misread them. If there’s no way out, the only place to go is back home to New Jersey.

While still in Chicago, Glen manages to get some work thanks to Skip Williamson, even meets Robert Crumb at a party. The hangers-on, the sycophants are here, too, hovering over Williamson and Crumb. Dismayed, Glen realizes the comix scene—at least what little he’s seen of it—is “just like high school!” (82). Glen admits, “I had imagined things a little . . . . differently”: a paradise of freaks, grass and free love, a “Cartoon Commune” complete with Crumb and his banjo (see pages 81-83). Despite Williamson’s generosity and encouragement, Glen returns to Madison, where he eats ice cream, smokes, and plays with his dad’s .38. Like a polyester, proto-punk Roderick Usher, Glen, naked, wanders alone through the gloomy halls of his suburban home. He’s got nothing left but himself and the family photos that haunt him.

This is the page I keep coming back to, one that Phoebe Gloeckner alludes to in her Introduction (5):

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For the last five pages, Glen has been firing bullets at the walls, the eaves. He notices a book of photos. “A coupla bullet holes here ‘n’ there,” he thinks, “. . . . but overall . . . . ” (119). Despite a fresh hole near his “dad’s forhead,” Glen notes, “Looks like they all got away clean . . . . ” He closes the book, tosses it. Head fills the page with a single, large, rectangular panel, then partially conceals it with seven smaller inset panels. I can’t think of another page in comics that treats the possibility of suicide quite like this—not as an act of violence but of erasure, a denial so complete and destructive that it moves backward and forward in time, taking with it ancestors and descendants simultaneously.

“Drawing in its deepest sense is handwriting,” Otto Benesch writes of Rembrandt, “an immediate emanation of personality, of its rhythm of life and its creative faculty” (Benesch 30). That “rhythm of life” pulses on this page as a dense tangle of lines and patterns take shape into a unity that Glen, for now, fails to see. If Glen is the resigned singer of “Ain’t It Fun,” the page itself is the graphic equivalent of Coltrane’s “sheets of sound,” a Madelon Vriesendorp cityscape, a still from Jacques Tati’s Playtime, a glittering Jack Smith sunset with fake fur and costume jewelry. This could be the end, an act of self-destruction, but these dense images, like a still, certain voice, seem to say, No. Too soon. Not yet. Fuck it.

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Rembrandt, A Girl Sleeping; Study after Hendrickje. A plate from Rembrandt as a Draughtsman. 

Benesch argues that the “simplest” gestures, “which give direct expression of personality, are just the right ones” (31). That comes later, in the future, at the end of the book, as Glen—maybe no less troubled than he was as a kid, but alive and still making art—sits with his daughter. Read the book and you’ll see.

I don’t know if there’s any beauty in “Ain’t It Fun.” There’s plenty in Glenn Head’s Chicago, but the reader, like Glen himself, has to search for it. It’s there, hiding beneath those posters, under the carpet, on the streets of the Loop or the sidewalks of Madison, New Jersey. Laughner knew the answer to the question he asked again and again in that demo–“Ain’t it fun when you know that you’re gonna die young?”–but it’s here, too, in the pages of Head’s book. “Forever young”? That comix utopia? Of course they’re both illusions, but, then again, who cares? For Glen, kindness and friendship and family are still possible. Add a bottle of ink, a couple of pencils, a notebook, maybe a cat. Life? It’s sometimes hidden, but it’s enough.

Works Cited

Otto Benesch. Rembrandt as a Draughtsman. London: Phaidon, 1960.

Glenn Head. Chicago: A Comic Memoir. Seattle: Fantagraphics, 2015. Print.

Clinton Heylin, “Searching for Peter Laughner” in Peter Laughner & Friends, Take the Guitar Player for a Ride. Portland: Tim Kerr Records, 1993. CD.

Keiler Roberts’ Miseryland and Gaston Bachelard’s “Poetics of Space”

At the Chicago Alternative Comics Expo earlier this month, Jake Austen, moderator of a panel featuring Zak Sally and Mickey Zacchilli, admitted that he likes superhero movies best when the characters are sitting around doing nothing. More talking and less fighting. In another panel, artist Lale Westvind admitted her affection for the X-Men, especially when they hang out, or, better yet, take a break from battling Sentinels and the Brotherhood of Evil Mutants and head to the beach.

Austen and Westvind both echo what Otto Binder said years ago about Captain Marvel’s popularity. The character often outsold Superman, Binder implied, because the hero and his alter ego Billy Batson knew know to take a break: “The Big Red Cheese was human to the core, whereas, in my opinion most of the other super-characters, from Mr. Big (blue suit) down, were alien, almost austere, infallible, haughty—doing a machine-like job of nabbing crooks and crushing evil, without once taking off a moment to lounge around and relax” (Binder qtd. in Steranko 14). When I was a kid reading superhero comics, I skipped the fight scenes but loved when, say, the X-Men would go to the mall or to the arcade. I especially enjoyed comics where I got to see the spaces in which the characters lived—the Fantastic Four and the Baxter Building, the Avengers and their mansion, Captain America and his apartment (which he sometimes shared with The Falcon). I still enjoy comics in which I find myself, with the characters I’m getting to know, in a specific place—on a street or in a living room or sitting on a front stoop.


The cover of The Uncanny X-Men No. 180 (April 1984) by John Romita, Jr., and Dan Green. Image from the Grand Comics Database.

I remember reading The Uncanny X-Men No. 180, “Whose Life Is It, Anyway?,” and fixating on the interior spaces of Professor Xavier’s mansion, so vast and mysterious, both a school and a home, filled with strange characters in brightly colored costumes. I can’t recall much else about the issue, written by Chris Claremont with art by John Romita, Jr., Dan Green, and Bob Wiacek, but I can still see the doors, windows, and the hallways of the mansion. I’m afraid to read this story again because I know it won’t match my memory of it. But the comic’s architectural space remains as vivid as my first grade classroom, or my family’s kitchen table, where I often did my homework (I’m writing this blog post at what should be my kitchen table, but what has, for the last few years, served as my desk).


Keiler Roberts’ new book Miseryland, with its cover image of two women and a dog walking past a beautiful, turn-of-the-century mansion, evokes the same feelings in me: I think I recognize the building, that I’ve seen it or one like it on the shore of Lake Michigan, but then I realize it doesn’t matter. The drawing, with its three figures in motion, invites me to visit the other spaces Roberts imagines in the book, which collects stories from issues 9-15 of her series Powdered Milk. Miseryland has a lot to recommend it—its humor, steady and cumulative in its effect; the careful and often stunning panel compositions, which reveal Roberts’ training as a painter; her use of sudden, telling pauses which remind me of the long, hypnotic breaks in a Harold Pinter play (in my first day of an undergrad British drama class with Peter Saccio, he and one of the other students acted out one of those pauses, as we read Pinter’s Old Times. It didn’t take long for other students to start chuckling, but as the seconds ticked by, amusement gave way to stillness. When it was over, Saccio grinned and went back to his lecture). There’s so much to enjoy in Miseryland, and there’s even more to write about, but I keep coming back to those spaces, like the ones I first encountered in the X-Men and Avengers comics I read when I was a kid.

As I edit my Captain Marvel book, and as we pack and get ready to move to a new place in a few weeks, I’ve been thinking a lot about these different spaces, like the ones in Miseryland, or like the first two panels on this page from The Avengers No. 218 (April 1982). Here, in a story by J. M. De Matteis with layouts by Don Perlin, I catch a glimpse of the foyer of Avengers Mansion:


The first panel is an image of a little boy ringing a doorbell. Simple enough, but look more closely at the details: the paving stones, the lamps, a horned lintel that crowns the doorway. The two shrubs, the bricks, the stoop: each tiny image invites readers to, as Scott McCloud writes in Chapter 3 of Understanding Comics, “mask themselves in a character and safely enter a sensually stimulating world” (McCloud 43). As Jarvis opens the door, the little boy and I see what appears to be a mirror, maybe a couple of paintings, a plant, a table. It’s a clever opening: the reader enters narrative space with the story’s protagonist, and, on the next page, both meet The Wasp, one of the heroes featured on the cover.

In The Poetics of Space, Gaston Bachelard (in an English translation by Maria Jolas), explores what he calls “topoanalysis,” that “systematic psychological study of the sites of our intimate lives” (30). In order to do so, he focuses his analysis on the house, especially the home we remember most vividly from childhood. Bachelard argues that the memory of that first house shapes us and determines how we function in the other spaces we call home: “In short,” he writes,

the house we were born in has engraved within us the hierarchy of the various functions of inhabiting. We are the diagram of the functions of inhabiting that particular house, and all the other houses are but variations on a fundamental theme. The word “habit” is too worn a word to express this passionate liaison of our bodies, which do not forget, with an unforgettable house. (36)

Bachelard also stresses the role that daydreaming plays in the attachment we often form with this place of origin: “The house we were born in is more than an embodiment of home,” he writes, “it is also an embodiment of dreams” (37). This page from The Avengers still appeals to me because, like a memory of home, it is both strange and ordinary: why did the artists, for example, spend all that time inking the blades of grass that border the stone path leading to the front door? Why the two shrubs? On his day off, does Captain America tend to the garden, trim the hedges, sweep the paving stones? I’d like to think he does. That would make a good story, too.

In The Avengers, these details establish setting, but they don’t shape the narrative as it progresses from scene to scene. In Miseryland, however, the house is the narrative. Stairways, railings, mirrors, doors, dressers, desks, pillows, hairdryers, lamps, and windows, each one carefully rendered, possess vitality, solidity, and meaning. Roberts’ second panel on page 136 celebrates these interior spaces. To borrow a phrase from architect and theorist Rem Koolhaas, this panel displays “a world totally fabricated by man,” not the “Manhattanism” of his book Delirious New York, but something closer to the secret rooms and passages Bachelard describes in his book. Roberts transforms time (or memory), as Bachelard might have argued, into space: “In its countless alveoli space contains compressed time. That is what space is for” (Bachelard 30).

Miseryland 2

The second panel on page 136, like so many of Roberts’s single images, is an example of this compression. What was once “time” is now space, an image reproduced on the page of the book I am holding in my hands. But this single panel contains its own story: Keiler’s mom does her make-up, her eye magnified by the mirror. The eye looks back at me, the reader; it could just as well be my own. I’ve become part of the scene, until I look away from the mirror and see another one, framed by the lights of the bathroom, then a doorway, one that leads to a hallway and maybe to another door.

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“What is it?” Xia, Keiler’s daughter, asks. She answers her own question: “a necklace.” Keiler sits on the bed, the necklace in her lap. Two rooms, a hallway, a series of doors, mirrors, and the light of the lamps. The black panel border is a window on this miniature world, like one of the Thorne Miniature Rooms at the Art Institute in Chicago.*

Another interior, on page 119: Keiler sits at a kitchen counter where she writes in her journal. Her father slices a banana into a bowl of cereal. A spoon, a jug of milk, and a banana peel rest on the counter beside the bowl. Behind her dad, another window looking out on a snow-covered evergreen, a bare tree, and a fence (Keiler’s journal tells us that it’s December 24th):

Miseryland 1

The zig-zag line of the countertop leads my eye from the lower, right-hand corner of the first panel to Keiler, the narrator, and on to the left and to the window. Like the cover of the book, this panel, which at first appears still, is filled with motion, as each marker of home announces itself, like the objects in the long, static kitchen scene in Orson Welles’s version of Booth Tarkington’s The Magnificent Ambersons (another story about a house and the family who lives in it). Follow the countertop until you reach the sink and the handle of a dishwasher behind Keiler’s dad. Stare out the window, that double panel-within-a-panel, or look again at the kitchen floor, which gives her dad the firm footing necessary for banana slicing. When bananas aren’t enough, we learn in the next panel, there’s always “fruit cocktail.” Keiler sits in her study reading her old journals, which include accounts of her dad’s breakfast habits. According to Bachelard, “An entire past comes to dwell in a new house” (27).

Miseryland has me thinking that maybe I should go back and look at that old issue of The Uncanny X-Men. I sold it with a box of other comics over a decade ago, when I moved from Baton Rouge to Chicago. If I can find a copy, and if I read it again, will I remember why it appealed to me so much in the first place?  When I think of that comic book, I remember the landing where, when I was a kid, my family stored our vacuum cleaner. I kept my box of comics there, too, so that I’d have easy access to them on my way upstairs, to my room, or on my way back downstairs. When I think of the X-Men, I remember that narrow flight of stairs, stained a deep reddish brown and covered in orange carpet. I was afraid to climb those stairs in the dark. “Up near the roof all our thoughts are clear,” Bachelard writes (39).

The house I remember is still there. I wonder if the landing and the stairs are, too?

Works Cited

Bachelard, Gaston. The Poetics of Space. Trans. Maria Jolas. New York: Penguin Books, 1964. Print.

Binder, Otto qtd. in Jim Steranko, The Steranko History of Comics 2. Reading, PA: Supergraphics, 1972. Print.

De Matteis, J. M. (writer), Don Perlin (layouts), Joe Rosen (l), Christie Scheele (c), “Born Again (and Again and Again . . .)” in The Avengers Vol. 1, No. 218 (April 1982). Marvel Comics. Print.

Koolhaas, Rem. Delirious New York: A Retroactive Manifesto for Manhattan. New York: The Monacelli Press, 1994. Print.

McCloud, Scott. Understanding Comics. New York: HarperPerennial, 1993. Print.

Roberts, Keiler. Miseryland. Evanston: Published by Keiler Roberts, 2015. Print.

Thanks to Kate Keleman and Jenny Meakins for recommending Koolhaas’s Delirious New York, and to Neil Brideau for tracking down more info on Koolhaas’s “cartoon theorem.” I also had Allison’s blog post in mind as I wrote this.

* For more about graphic narratives and architecture, see Koldo Lus Arana’s essay “Comics and Architecture, Comics in Architecture.” In Rem Koolhaas’s discussion of A. B. Walker’s cartoon of a futuristic skyscraper first published in Life in 1909, the architect describes a “fractured” way of living: “Incidents on the floors are so brutally disjointed that they cannot conceivably be part of a single scenario. The disconnectedness of the aerial plots seemingly conflicts with the fact that, together, they add up to a single building” (Koolhaas 85). In his essay, Arana considers Koolhaas’s theorem in relation to a page of comics, in which individual panels are distinct but work together to create meaning. In some of Frank King’s Gasoline Alley pages, for example, a single image is subdivided into discreet panels. As a result, Arana argues, “Each panel became, then, an individual timespace, both a fraction of a story and of the whole space, that retained its individuality and at the same time made part of the greater unity of the whole house/story.” For more on Koolhaas’s theorem, see also David Holowka’s blog ArchiTakes.

A Chicago Alternative Comics Expo (CAKE) 2015 Preview!

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Ivan Brunetti’s art for this year’s CAKE. 

As I look forward to the 4th annual Chicago Alternative Comics Expo (CAKE) this weekend, I’m reading letters from Otto Binder, the great Captain Marvel and Superman writer who got his start, as Bill Schelly explains in the biography Words of Wonder, with articles for the Schurz High Weekly. If you read my report on CAKE 2013, you’ll know I do this every year, as CAKE gets me thinking about Chicago’s place in the history of comics and comic book fandom in the United States.

Born in Michigan in 1911, Binder grew up in the Portage Park neighborhood and graduated from Schurz, on the corner of Milwaukee and Addison, in 1929 (see Schelly 23-24 and 31). In an interview last year, I asked Harlan Ellison to consider Binder’s achievements in comic books and in the science fiction magazines of the 1930s and 1940s, where the pulp writer published short stories written in collaboration with his brother Earl under the pen name Eando Binder (look closely and you’ll see it: E and O, or, Earl and Otto Binder). “[Eando] Binder was always a great, iconic, early tech days science fiction name,” Ellison explained, “along with Ed Earl Repp and Stanton A. Coblentz and all the rest of the names that are now graveyard dust, just as mine will be. I don’t think Otto Binder was one of the great writers of all time. I don’t think Victor Hugo is lying ‘neath the turf beetling his brow over Otto Binder. But for commercial fiction, and particularly for comic books, he was top of the line.”

Binder was significant not only as a comic book writer, but also as a key figure in early comic book fandom in the United States in the 1960s (or “the second wave of organized comic fandom” in the U. S., as Bart Beaty calls it in his 2012 book Comics Versus Art; see page 154). In a 1964 letter to Jerry Bails, Binder imagines what fandom might look like in the future (see Binder’s letter in Schelly, p. 168). Always the science fiction dreamer, Binder offers Bails a few suggestions on how to expand this already thriving community: “Have you comics fans,” he asks,

whether “pure” or science-fictionally dichotic, thought of your own annual “Comi-cons” similar to their very successful and colorful “SciFi-cons”? At the rate the comics crowd outnumbers the always-small SF audience, such gatherings ought to hit at least 10 times as much, namely 10,000! And where are the “Oscars”/ “Hugos” / “Emmies” awarded to top comics talent each year? (Reserve the Anti-Award for the Comics Code censors who are the people society can do most without).

Binder was no doubt also thinking about his past when he made these suggestions. He’d been involved in the Chicago science fiction fan community of the 1930s, notably through his friendship with writer, editor, and Edgar Rice Burroughs-imitator Otis Adelbert Kline (Schelly 42). I have Binder in mind as I think about the various communities, past and present, who play played a role in developing CAKE. I also imagine what new communities might take shape as writers and artists and fans meet each other at the Center on Halsted this weekend.

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Binder’s What We Really Know About Flying Saucers (1967). He dedicated the book to his late daughter, Mary. 

I’ll admit that my obsession with what Walter Benjamin might have described as the “affinities” between past and the present is at work in some of the programming we’ll have this weekend. I’ve had the good fortune over the last year to collaborate with Ben Bertin, Amara Leipzig, and Max Morris on this slate of panels, which will range from a conversation with Gilbert and Jaime Hernandez, moderated by Caitlin McGurk from the Billy Ireland Cartoon Library and Museum at Ohio State, to an Eyeworks Animation Festival and a session on comic books and New Wave science fiction.

Ytasha Womack, comic book writer and Afrofuturist scholar, for example, will lead her panelists, Eleanor Davis, Lale Westvind, and Tom Kaczynski, in a conversation about what, in one of our CAKE programming meetings, we’ve called “the spiritual resonance” between comics and science fiction, not only in the work of these three creators but also in reference to the writing of Octavia Butler, J. G. Ballard, and Ursula K. Le Guin. So, we’re not so much talking about rockets and space monsters and time travel as we’re thinking about science fiction as a philosophy, a practice, a mode of being (or not being). Ytasha explains it all much better in her book Afrofuturism: The World of Black Sci-Fi and Fantasy Culture. There’s another parallel here with “The Golden Age(s) of Comics” panel moderated by Gene Kannenberg, Jr.: doesn’t all speculative fiction long for utopian spaces? Maybe that’s what science fiction is really about, then: that desire for another reality, even if it exists only in the imagination.

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An Ace paperback reprint of one of Kline’s novels from the 1930s. Cover by Frank Frazetta. 

Here’s a secret, too: the Golden Age panel, with Jillian Tamaki and Dash Shaw and Sam Sharpe, is, in a sense, about speculative fiction, but this time we’re looking at the past, about the nostalgic narratives that have shaped our present. It’s all there in the comics themselves: in Jillian and Mariko Tamaki’s This One Summer, or in Shaw’s New School, or in Sharpe’s Viewotron No. 2. Gene’s panel, then, won’t be about Captain Marvel or the Justice Society of America or your collection of Famous First Editions. We’re imagining a different Golden Age here, not the one in which characters like Superman and Batman first appeared, but the era in which we now find ourselves. Gene, Jillian, Dash, and Sam might also get closer to explaining the role that nostalgia plays in so many comic book and graphic narratives. Consider, for example, what Alan Moore once said of his work on Marvelman/Miracleman, as he described “that warm glow of nostalgia which is probably the single biggest factor keeping us interested in this medium, whatever amount of intellectual satisfaction we manage to glean on the side” (Moore 31).

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Mickey Z.’s Rav, 1st Collection (Youth in Decline, 2014). 

If you’re interested in exploring a new universe—and not the one Marvel introduced in the 1980s, though I’ve been known to pick up issues of Star Brand and DP7 in the quarter bin at Chicago Comics—you might want to check out Jake Austen’s conversation with Zak Sally and Mickey Zacchilli on Saturday afternoon, as the three talk about music, comics, and self-publishing. Sally and Zacchilli are both forward-thinking cartoonists, producing work that blurs the lines between zines, minicomics, and more traditional comic books narratives. In re-reading Jack Kirby’s The Demon just a few months ago, I had fun looking for visual parallels between Zacchilli’s Rav and those apocalyptic, two-page spreads where Etrigan hovers over Gotham City in pursuit of Witch Boy.

On Sunday, writer and artist Amy Peltz will explore other landscapes with Derf Backderf, Keiler Roberts, and Sarah Becan, as they talk about what we’ve called “The Honest Truth,” the transformation of the raw material of everyday life into comics. That autobiographical impulse in contemporary U. S. comics can also be traced, at least in part, here to Chicago, in Justin Green’s Binky Brown Meets the Holy Virgin Mary, Richard “Grass” Green’s Un-Fold Funnies and, more recently, in Jessica Abel’s early work.

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One of Richard “Grass” Green’s cityscapes on page 24 of Xal-Kor the Human Cat #1 (New Media Publishing, August 1980). 

On Sunday afternoon, Amara Leipzig and I will be hosting a panel/workshop called The Regionalism Experiment featuring Ben Passmore, Leigh Luna, Isabella Rotman, Anuj Shrestha, and Mickey Zacchilli. You’ll notice that C. C. Beck, who trained at the Chicago Academy of Fine Arts in the late 1920s as his future artistic collaborator Otto Binder was finishing at Schurz, appears several times in our panel descriptions. I guess you could say he hovers like a ghost over the proceedings, but without his 1983 conversation with Will Eisner we’d have no shape to our workshop, which will ask the artists to place themselves in a landscape: what does that autobiographical landscape look like, and how did they get there? In the interview, Eisner urged Beck to talk more openly about Minnesota and Chicago and New York, the three fixed points in the map of the Captain Marvel co-creator’s early years: “The reason I’m questioning you is that I believe geographic origin impinges on style of art considerably,” Eisner said (Eisner 18). Amara and I would like to know if that assertion is true, and, if it is, we’d like to see how these points of “origin”—the real ones, or the ones found only in the imagination—have shaped their work.

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The first narrative page from the ashcan edition of what became Whiz Comics No. 2 in 1940 (from The Shazam Archives Volume 1, DC Comics, page 11) and an excerpt from Mickey Z.’s Rav (Youth in Decline, 2014). 

I don’t know if Beck had Chicago in mind when he drew this page for Fawcett over 75 years ago, and I don’t know if Mickey Z. was thinking about an IHop in Providence, Rhode Island when she sketched this portrait of Juice from Rav, but I see both drawings as existing within the same space. Look closer and you might find that one resonates with the other: a mysterious stranger, a sudden revelation, a moment of doubt. Maybe I’m looking for some kind of comic book singularity here, a unified field theory, in which all comic books exist within the same temporal space. Or maybe I just read way too many superhero team-up comics when I was a kid. I especially loved the ones where the Golden Age Superman would return, gray-haired, and throw down with a younger version of himself. It was like a history lesson and time travel all in one for only 60 cents.


One of my favorite comics: the George Perez (p), Mike DeCarlo (i) and Anthony Tollin (c) cover for Justice League of America No. 197 (December 1981). Image from the Grand Comics Database (since I can’t find my copy). 

If this is all sounding too abstract, don’t worry—it’s going to be a lot of fun, and it will all start with some kick-off events on Thursday and Friday, including The Ladydrawers Comics Collective and Femicomix Finland team up at Women & Children First in Andersonville on Thursday night. On Friday the 5th at 7, see John Porcellino, Eleanor Davis, and Keiler Roberts in conversation with Hillary Chute at Quimby’s.

If you’ve been to CAKE over the last few years, come back and visit. If you’ve never been, make sure you’re at the Center on Halsted this weekend. Go to a workshop or a panel. Meet some new friends. Come by and say hello.

For more on the weekend’s events, visit the CAKE website:

Quimby’s also has a great list of all the CAKE-related events coming up:

CakeAppCard 2

Isabella Rotman’s Mike Watt-like, flannel-wearing CAKE mascot. Is this Charles Cake?!

Works Cited

Beaty, Bart. Comics Versus Art. Toronto: U. of Toronto Press, 2012. Print.

Eisner, Will. “Shop Talk: C. C. Beck.” Will Eisner’s Spirit Magazine No. 41 (June 1983). 18-23, 42-43. Print.

Moore, Alan. “M*****man: Full Story and Pics.” Miracleman #2 (Oct. 1985). Eclipse Comics: 15, 31. Print.

Schelly, Bill. Words of Wonder: The Life and Times of Otto Binder. Seattle: Hamster Press, 2003. Print.

p.s. I’ll have copies of my band’s new album if you’d like one. Pet Theories will be playing the CAKE after party at The Observatory on Saturday the 6th. I’ll also have some copies of Allison’s new zine, Satan Is My Father, which features essays on two of my favorite but lost Connecticut bands of the 1980s and 1990s. And speaking of collaborations made possible by CAKE, here is Amara Leipzig’s artwork for our album cover:



A Preview of the 2015 Dartmouth Illustration, Comics, and Animation Conference (May 8, 9, and 10)


I first read James Sturm’s The Revival in 1996, not long after he’d self-published the book with the help of a Xeric Grant. I was in my second year of graduate school at the University of Connecticut and just starting my first semester as a teaching assistant—which, at UConn, meant I was responsible for a small group of students in my introductory English 105 class. Late in the semester, one of the students told me, a few minutes after the start of class, “You have no idea what you’re doing.” I think she may also have said I was the worst teacher she’d ever had. I don’t remember exactly. Either way, she was right. I kept teaching anyway, and I’d like to think I’ve gotten better in the almost 20 years since then.

As I struggled with the class and with my graduate courses, I read The Revival and the early issues of Chris Ware’s Acme Novelty Library. When I started grad school I re-read Watchmen and a few of my other favorites, but I’d stopped reading comics on a regular basis in the late 1980s. I’d gotten tired of all the black & white atomic rodent comics copied from the Teenage Mutant Ninja Turtles (with the notable exception of Adolescent Radioactive Blackbelt Hamsters, which I’ve always promised I’ll write about someday) and spent the early 1990s learning to play guitar. But every few months I’d visit a comic book shop and pick up a single issue or a graphic novel, usually a dog-eared remnant of the mid-1980s direct market boom. When I read The Revival, however, at the urging of my fellow UConn graduate students Gene Kannenberg, Jr., and Charles Hatfield, I felt that the promise of the comics I’d adored in the 1980s—Tim Truman’s Wilderness, for example, William Messner-Loebs’ Journey, Art Spiegelman’s Maus—had finally been realized. Are there more like this, I asked?

In a couple of weeks, Nhora Lucía Serrano and I will be moderating a panel with Sturm and painter Enrico Riley at Michael Chaney’s Illustration, Comics, and Animation Conference at Dartmouth College. Here is Chicago artist Amara Leipzig’s fabulous poster for the event:


Amara has filled the image with references to Enrico’s paintings and to Sturm’s comics. The small figure in the foreground, surrounded by what might be birds and clouds, is on a journey, but appears relaxed, maybe certain of where they’re headed. The open space and the possibility at work in Amara’s poster are elements that I think Sturm and Riley share in common. Nhora and I have talked about the questions we’d like to ask them, but the one I keep coming back to again and again has to do with these spaces, the locations they imagine and represent in their art.

Both of them have been working in the Upper Connecticut River Valley now for several years—in Enrico’s case, almost two decades—so I’m curious to know how White River Junction and Hanover and Norwich have shaped their work. But I also wonder what other spaces find their way into Sturm’s stories, especially The Revival, which he wrote and drew long before he co-founded The Center for Cartoon Studies in Vermont . The story begins, a text box tells us, in “Eastern Kentucky, 1801, Saturday before dawn.” Joseph Bainbridge and his wife Sarah are traveling to Caine Ridge, Kentucky, to take part in a “camp meeting” (as the text on the comic’s inner front cover tells us). The narrative is set, then, during America’s Second Great Awakening of the early 19th century. The first three panels look like woodcuts:

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Sturm has arranged the trees in a skeletal pattern in that first panel. We see two figures—we don’t learn their names until page 3—a horse, a dog. The trees are almost as abstract as the images in Seam, a wordless comic Sturm originally published in Seattle newspaper The Stranger. That pattern, however, eventually leads the eye of the reader to the two figures and the two animals, who animate the scene, and lead us through the darkness of this Saturday morning before the woman, in the third panel, trips over a branch and startles both the dog and the horse. Her fall brings the character—and the reader—back to earth again, and in that last panel we no longer see the tree branches but only bark and trunks and roots. That inner front cover of The Revival tells us that this story is “A Thorough Inspection into the Power of Faith,” but I don’t think this is a faith made manifest in abstract shapes or in the “evidence of things not seen.” This is something else, a holy catalog of images and objects like the ones found in a Walt Whitman poem (or an Allen Ginsberg poem imitating Walt Whitman and Christopher Smart). The dog’s tail, the tree knots, the fallen branches, and the covered wagon transform what otherwise would have been an abstract arrangement of trees into a landscape specific to this Saturday morning in Kentukcy in 1801.

In his essay “Local Color in Art,” included in his 1894 collection Crumbling Idols, novelist, memoirist and short story writer Hamlin Garland writes about both the quotidian details and the abstract images in classical literature. When I first read this passage, not long after I’d read The Revival for the first time, I began to wonder if I could locate Sturm’s work in the same tradition of these late nineteenth century American writers, not only Garland, but also Charles Chesnutt and Sarah Orne Jewett and even some of Stephen Crane’s stories. You might remember them from your high school American Lit. textbook: the Local Color writers or the Regionalists. “Historically,” Garland writes,

the local color of a poet or dramatist is of the greatest value. The charm of Horace is the side light he throws on the manners and customs of his time. The vital in Homer lies, after all, in his local color, not in his abstractions. Because the sagas of the North delineate more exactly how men and women lived and wrought in those days, therefore they have always appealed to me with infinitely greater power then Homer. (Garland 49)

On this page, Sturm isn’t illuminating “the manners and customs of his time.” The Revival, at least on the surface, doesn’t tell the story of the United States in the late 1980s and early 1990s. In his 2003 Comics Journal interview with Tom Spurgeon, Sturm explains a few of the inspirations for the story, which began with an idea for a comic book “about Paul Bunyan and Johnny Appleseed” until a research trip to the University of Washington pointed the artist in a different direction:

I kept coming across descriptions of the Cane Ridge Revival. Also, from being into the Grateful Dead, these passages reminded me of these Grateful Dead parking-lot scenes—just the craziness, the weirdness, a frontier mentality where anything is possible. That was also in the air in Seattle itself—all the wealth that was being generated. Not even the wealth, it was more like the promise of computers and how they will transform our lives, the technological frontier. (Sturm qtd. in Spurgeon 95)

Several of Enrico’s paintings from his 2012 show Portable Vision (at the Jaffe-Friede & Strauss Galleries at Dartmouth’s Hopkins Center) reverse this process of moving from the abstract to the specific. Look closely at the lower, right-hand corner of this image and you’ll see the words circle dance, written there (with a brush? a finger-tip?) perhaps as the paint was drying. The words refer to the title of the painting, or maybe it’s the other way around. This one is called “Circle Dance: Village Green, Norwich, VT” (dated 2011, the original is a 22 x 20 oil on canvas on panel, according to the program for the show).

 Scan 2

There are trees here, too. I think I see branches, but these are covered in leaves, purple and orange. The branches are light blue and purple, and the figures in the foreground stand in a ring. Like Sturm’s two pilgrims, these figures—one of which Amara references in the poster for this event—are in motion, the action here implied not by text boxes and panels but instead by color and texture. I don’t recognize the figures, or the green, but I know them, as they trigger memories of a lunch I had with my first-year writing professor at a small café in Norwich two years ago. Mostly I remember trees and the curve of the Connecticut River.

If you’re in Hanover in a couple of weeks, please join us for the conversation. I think you’ll enjoy it. In the meantime, visit the conference’s Facebook page or read the blurb we’ve written for the roundtable, which I’ve also included at the end of this post. Thanks again to Michael Chaney for his support in developing this roundtable for his conference and to the Comics Studies Society for sponsoring the event. And thanks again to Amara for the wonderful poster.

A Conversation with James Sturm and Enrico Riley

In a 1983 interview, Will Eisner asked fellow cartoonist C. C. Beck to describe Chicago in the 1920s. Eisner was curious about Beck’s Midwestern upbringing and its impact on the artist’s style and career. “The reason I’m questioning you about that is that I believe geographic origin impinges on style of art considerably.” How do these origin points shape an artist’s work? What roles do memory and nostalgia play in shaping visual narratives? Eisner’s question, which Beck never answers, lies at the heart of this roundtable discussion between these two innovative and visionary artists and educators.

James Sturm is the founder of the Center of Cartoon Studies in White River Junction, Vermont. Over the course of his now almost two-decade career as a cartoonist, Sturm has produced a body of work that ranges from the abstractions of Seam to the mysticism of The Revival and the historical narratives of The Golem’s Mighty Swing and Market Day. He also wrote the metahistorical graphic novel Unstable Molecules for Marvel Comics and has written for children and young adult readers.

Enrico Riley is an Associate Professor of Studio Art at Dartmouth College. The strong narrative impulse in his paintings can be traced in equal measure to his experiences as a musician and to his experience of life in the Upper Connecticut River Valley. His most recent paintings are vibrant hallucinations, each one a fragment of a longer story he’s beginning to tell about a boy, a girl, a surfboard, and a beach. His earlier work references jazz pioneers including Thelonious Monk and John Coltrane.

The artists will discuss their work, their lives in the Upper Valley, and their practice as both artists and teachers.

For more about James Sturm and the Center for Cartoon Studies, please visit

For more about Enrico Riley and his work, please visit

Works Cited

Garland, Hamlin. Crumbling Idols. Cambridge: Belknap Press, 1960. Print.

Spurgeon, Tom. “James Sturm: ‘I Have My Good Days and My Bad Days.'” The Comics Journal #251 (March 2003). 77-115. Print.