Elizabeth Beier only started working in comics a few years ago, but the graphic designer has made a name for herself self-publishing two issues of the comic Bisexual Trials and Errors, and comics like We Belong and I Like Your Headband. The winner of the 2016 Queer Press Grant from Prism and a Moth StorySLAM winner, this fall Northwest Press is publishing Beier’s first full length book, The Big Book of Bisexual Trials and Errors.
The spine of the collection is Beier’s own autobiographical story of starting to date after a six year relationship and being intimidated and finding her way through the entertaining confusion. Those comics, along with the flow charts and infographics that Beier enjoys crafting, manage to be funny and relatable in a way that transcends age and orientation. But the book is also much more that. Beier mentioned that she loves to draw faces, but she’s also interested in voice, and that interest in authenticity, in specificity, in capturing individuals and their stories is at the heart of her work. This is a coming of age story about a twenty-something woman, but it’s also about a woman situating herself in and coming to understand her community.
The book will be coming out this fall from Northwest Press, and the book is currently up as part of Kickstarter Gold, which highlights new projects by creators who have used the crowdfunding site in the past “making new works inspired by their past projects, so backers can discover extra-amazing ideas.” In 2013 Northwest published Anything That Loves, a comics anthology of comics story that took place in “the world outside of gay and straight boxes,” as editor and publisher Zan Christensen put it. The book was a critical and commercial success and Northwest will be publishing Beier’s book as a companion to and a continuation of that conversation. The campaign, which can be found here, runs through July 27.
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The creator of ‘War of Streets and Houses’ talks about her journalism comics collection, ‘What is a Glacier?,’ and her work translating ‘Pretending is Lying.’
Since her book War of Streets and Houses was published by Uncivilized Books, it seems as though Sophie Yanow has been publishing work on a regular basis. She’s become a significant comics journalist, regularly publishing pieces in The Nib and The Guardian and elsewhere, covering the protests at Standing Rock and the U.S. elections. This year she has two very different comics coming out. The New York Review of Comics has just released Pretending is Lying, a comics memoir by Dominique Goblet that Yanow translated. At TCAF, Retrofit Comics released What is a Glacier, which collects some of Yanow’s journalism comics.
Yanow is currently teaching at the Center for Cartoon Studies in Vermont and this career model – making nonfiction comics, teaching, translation – has existed among prose writers and poets for generations, but it’s something new to comics. We spoke recently about Goblet, translation, nonfiction and the idea that Pretending is Lying.
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Do you remember yesterday? I often barely remember where I parked but I more or less know what I do day to day. In Transience, Leo Johnson and Ricardo Mo have assembled a collection of stories that build a world wrecked from amnesia.
In a unique science fiction premise, they’ve imagined a world where a series of biological attacks have left cities and towns around the world without the ability to form new memories. Each morning, people wake up with the previous day lost to them. Each story is set in a different city around the world where years have passed since the attack.
The creative teams tackling these stories often come from the location of their story, and make up an international team of collaborators that helped form this world.
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The creator of ‘How To Be Happy’ discusses her latest book from Koyama Press, which details her cycling trip from Arizona to Georgia.
In 2014, Fantagraphics published How To Be Happy, a collection of short comics by Eleanor Davis, which immediately established the cartoonist as one of the major figures of her generation. In the book, Davis jumped between styles and approaches, telling different kinds of stories ranging from the fantastic to realistic. Since then she made a children’s book with Drew Weing, Flop To The Top, for Toon Books. She also made the comics novella Libby’s Dad, which came out last fall from Retrofit Comics, and was recently awarded the Slate Book Review 2017 Cartoonist Studio Prize for Best Print Comic.
Davis’ new book, out now from Koyama Press, is You & A Bike & A Road. The book is a series of comics about a bike trip that Davis undertook from Tucson, Arizona, where she grew up, to her home in Athens, Georgia. We spoke recently about the book, the journey, agitprop and more.
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When Spaniel Rage was first published in 2005, the collection of diary comics made a splash. Vanessa Davis didn’t come from a comics background, and she had a unique way of laying out and designing pages and her own sensibility. A few years later when Drawn & Quarterly collected many of her short comics in the book Make Me a Woman, it established Davis’ reputation as one of the great cartoonists of her generation.
Since then Davis has been making short comics and illustrations for many publications, including The New York Times, Tablet, Lucky Peach, and elsewhere. Her work has appeared in Fairy Tale Comics, Nursery Rhyme Comics, Kramer’s Ergot, and Best American Comics. D&Q has just reissued Spaniel Rage with a new introduction by Davis. The book remains a striking and vivid book about life in one’s 20s, about New York City, about the life of the young artist. Davis spoke about revisiting her work, what she’s working on now, and The Terry Southern, which she was just awarded for her work for The Paris Review.
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Alex Dueben talks to Mark Fertig about his latest book from Fantagraphics, World War II, graphic design and more.
In his recent book Take That, Adolf!, Mark Fertig looks at Golden Age comics and how World War II transformed the industry and the content. While for many people, the appeal of the book may be the hundreds of comic book covers that feature Adolf Hitler being punched and Nazis thwarted, the highlight is Fertig’s long essay.
In that piece Fertig examines race and gender; he looks at how the comics industry was changed, the ways that it’s impossible to think about the business and many characters without the influence of the war, and many more issues. Fertig is an Associate Professor at Susquehanna University in Pennsylvania, where he teaches graphic design, and we spoke about the book, World War II, graphic design and comics in the classroom.
I enjoyed the book – who doesn’t like seeing Hitler get punched repeatedly? When you conceived the book, I’m sure you never imagined that the media would be discussing when it’s acceptable to punch nazis.
Yeah, I did a Twitter search the other day, and the book showed up. I don’t think the book has really worked its way into the public consciousness on any level, and yet it showed up in a political tweet where somebody had linked to the book and said, “This is our book.” I thought that was pretty fascinating. When I wrote it I thought I was writing it for comic book people and World War II people, but if it’s interesting to other people, that’s fine by me.
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Michael May and Jason Copland discuss the massive collection of their giant monster series coming from Dark Horse, the future of the series and more.
Michael May and Jason Copland have been working on Kill All Monsters! for more than a decade now, and come July they — and you — will see all their work on it collected into an omnibus from Dark Horse Comics.
And in the interest of full disclosure, I should mention that I’ve been blogging with Michael in some form or fashion for about a decade now myself. So I’ve watched from ringside as KAM progressed from a webcomic to a Kickstarter project to a story in Dark Horse Presents and now to this giant-sized collection. It’s a fun story about an Earth overrun with giant monsters and the humans trying to take it back. I’m glad I’ve gotten to watch it come to life, just as I’m happy to talk with the two of them about the project’s origins and what comes next for this world they’ve created.
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Plus: New superhero universe Catalyst Prime, comics to fight fake news, Jillian Tamaki, Rico Renzi’s color palette, and more!
What’s up with MAD Magazine? Mark Evanier lays out a brief history of MAD, which has been part of DC Comics for a long time (it’s complicated!), and updates us on its current status, which is… not good. Like pretty much all print magazines, MAD has been struggling for a while, although Evanier thinks editor John Ficarra has been doing a bang-up job. When the rest of DC packed up and moved to Burbank, California, a while ago, the MAD staff stayed, but they are moving out of their New York office at the end of this year, and DC has not been forthcoming with any news about what will happen next, beyond the fact that the magazine is moving to Burbank and only one staffer, a production artist, will be going with it. The February 2018 issue will be the last one produced by the Usual Gang of Idiots. DC has not made any announcements about what happens next, but Evanier suggests following the blog of artist Tom Richmond, one of the most frequent contributors to the magazine, for updates.
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Brigid Alverson shares a previously unpublished interview with the creator, who passed away last weekend.
Geoffrey Hayes, the creator of TOON Books’ Benny and Penny series, died last weekend at the age of 69. I met him just once, at the American Library Association midsummer meeting in 2010.
I was actually a longtime fan of his work, because my children loved his Otto and Uncle Tooth picture books. Geoffrey came to comics fairly late, after an artistic dry spell—Francoise Mouly somehow knew to call him and have him create the Benny and Penny comics for TOON Books. But he had always lived a creative life; while I was doing research to write an appreciation, I ran across this essay in which he talks about how he and his brother, Rory Hayes (who was known as an underground cartoonist) spent their childhood creating stories together.
When I heard about Geoffrey’s death, I went through my files looking for a photo of him, and I was surprised to find an interview that I had done in 2010 but never published anywhere. So here it is, seven years later. As delightful as it was to relive that moment, I was also saddened when I got to the end, where he talks about the graphic novel he was working on. That book, Lovo and the Firewolf, was to be his magnum opus, and Fantagraphics was going to publish it next year. His death leaves it incomplete.
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