Wednesday, February 24, 2021

Robert Boyd's Book Report: R. Crumb Sketchbook vol. 2

 Robert Boyd


Today I report on the R. Crumb Sketchbook vol. 2: Sept. 1968 - Jan. 1975. Time has forced me to reconsider Robert Crumb, who I used to esteem unreservedly. I think you'll see why I re-evaluate the man and his art in this report. I ordered this book directly from the publisher, Taschen. My go-to bookseller, Bookshop.com, doesn't have all the sketchbooks available. I only see volume 1 and volume 5 in their online store.

Sunday, February 14, 2021

IAH Forecast

 Robert Boyd

A few days ago, I woke up before sunrise (as I always do in the winter) and looked out my window to see some of the thickest fog I've ever seen. Normally at night I see the lights of downtown Houston skyscrapers, but this night I saw almost nothing. As I watched, astonished by the gloom, I wondered if I would even be able to see the sun when it rose. I looked up the exact minute of sunrise for that morning and waited. The gloom grew lighter, but no less obscure. I looked to the east from my balcony and could see no sun. The only light I could see were some headlights from the cars below my window and the large freeway light nearest to me. Normally I can see four of them to the east. The view was inspiring, so I took out my phone and snapped a photo of it which I posted on Instagram and Facebook. The picture I posted had an Instagram filter that made it appear warmer than the raw version. 


Above is the Instagram post. Here is the unfiltered photo:


After I posted this on Facebook, I was contacted by Marc Weidenbaum, a friend from the comics world, about it. He texted me:

Howdy. I was wondering, would it be OK if I use your photo for a project? I'll credit you for sure. I have this weekly music community I moderate, and each Thursday I send out a compositional prompt. I'd like to potentially use this image for one.

I responded, "The fog photo from this morning?"

Yeah, that's the one. The project I did online before launching the Disquiet Junto music community was called Insta/gr/ambient, and I gave 25 musicians one another's Instagram images and said, "This is the cover of your next single. Now record it." I think I wanna do that with this image, if that's cool. We usually get 20 to 40 participants from around the world.

 I, of course, agreed. Marc posted it on his music blog, Disquiet Junto. And many musicians and composers responded. Their music is almost exclusively electronic, most is wordless, and mostly soundscapes without melody. It is very nice music to play in the background while reading a book on a foggy day. And here is the playlist:

 

Weidenbaum was an editor at Pulse, the house magazine of Tower Records (remember them?). He later worked for Viz, then the largest publisher of manga in the U.S. Somewhere along the way, he became interested in electronic and ambient music. In 2014, he wrote Selected Ambient Works Volume II for Bloomsbury's 33 1/3 series of books about notable record albums (in this case, Aphex Twin's album of the same title). 

I feel exceptionally proud that my early morning snapshot helped inspire this body of music. But really, the credit goes to Weidenbaum: he's the one who has built up this community who eagerly respond to his entreaties.

Sunday, February 7, 2021

Pan in America

 D.H. Lawrence

[Lawrence wrote this in 1924, so I think that places it in public domain. It was written in 1924 but not published until 1934 in Phoenix, a posthumous collection of Lawrence's work. I read it in the newly published anthology of Lawrence's non-fiction, The Bad Side of Books, edited by Geoff Dyer.]

Pan fucking a nanny-goat, Roman, found in the ruins Pompeii, so it was sculpted before AD 79

At the beginning of the Christian era, voices were heard off the coasts of Greece, out to sea, on the Mediterranean, wailing: 'Pan is dead! Great Pan is dead!"

The father of fauns and nymphs, satyrs and dryads and naiads was dead, with only voices in the air to lament him. Humanity hardly noticed.

But who was he, really? Down the long lanes and overgrown ridings of history we catch odd glimpses of a lurking rustic god with a goat's white lightning in his eyes. A sort of fugitive, hidden among leaves, and laughing with the uncanny derision of one who feels himself defeated by something lesser than himself.

Am outlaw, even in the early days of the gods. A sort of Ishmael among the bushes.

Yet always his lingering title: The Great God Pan. As if he was, or had been, the greatest.

Reclining Pan, attributed to Francesco da Sangallo, circa 1535, marble

Lurking among leafy recesses, he was almost more demon than god. To be feared, not loved or approached. A man who should see Pan by daylight fell dead, as if blasted by lightning.

Yet you might dimly see him in the night, a dark body within the darkness. And then, it was a vision filling the limbs and the trunk of a man with power, as with new, strong-mounting sap. The Pan-power! You went on your way in the darkness secretly and subtly elated with blind energy, and you could cast a spell, by your mere presence, on women and on men. But particularly on women. 

Nicolas Poussin, The Triumph of Pan, 1636, oil on canvas

In the woods and the remote places ran the children of Pan, all the nymphs and fauns of the forest and the spring and the river and the rocks. These, too, it was dangerous to see by day. The man who looked up to see the white arms of a nymph flash as she darted behind the thick wild laurels away from him followed helplessly. He was a nympholept. Fascinated by the swift limbs and the wild, fresh sides of the nymph, he followed for ever, for ever, in the endless monotony of hid desire. Unless came some wise being who could absolve him from the spell.

But the nymphs, running among the trees and curling to sleep under the bushes, made the myrtles blossom more gaily, and the spring bubble up with greater urge, and the birds splash with a strength of life. And the lithe flanks of the faun gave life to the oak-groves, the vast trees hummed with energy. And the wheat sprouted like green rain returning out of the ground, in the little fields, and the vine hung its black drops in abundance, urging a secret. 

Pablo Picasso, The Triumph of Pan, 1944, watercolor and gouache on paper

Gradually men moved into cities. And they loved the display of people better than the display of a tree. They liked the glory they got of overpowering one another in war. And, above all, they loved the vainglory of their own words, the pomp of argument and the vanity of ideas.

So Pan became old and grey-bearded and goat-legged, and his passion was degraded with the lust of senility. His power to blast and to brighten dwindled. His nymphs became coarse and vulgar.

Till at last the old Pan died, and was turned into the devil of the Christians, The old god Pan became the Christian devil, with the cloven hoofs and horns, the tail, and the laugh of derision. Old Nick, the Old Gentleman who was responsible for all our wickedness, but especially our sensual excesses--this is all that was left of the Great God Pan.

It is strange. It is a most strange ending for a god with such a name. Pan! All! The which is everything has goat's feet and a tail! With a black face!

This really is curious.

Yet this was all that remained of Pan, except that he acquired brimstone and hell-fire, for many, many centuries. The nymphs turned into the nasty-smelling witches of a Walpurgis night, and the fauns that danced became sorcerers riding the air, or fairies no bigger than your thumb.

But Pan keeps on being reborn, in all kinds of strange shapes. There he was, at the Renaissance. And in the eighteenth century he had quite a vogue. He gave rise to an 'ism,' and there were many pantheists. Wordsworth one of the first. They worshiped Nature in her sweet-and-pure aspect, her Lucy Gray aspect.

'Oft have I heard of Lucy Gray,' the school-child began to recite on examination-day.

Lucy Gray, alas, was the form that William Wordsworth thought fit to give to the Great God Pan.

And then he crossed over to the young United States: I mean Pan did. Suddenly he gets a new name. He becomes the Oversoul, the Allness of everything. To this new Lucifer Gray of a Pan Whitman sings the famous Song of Myself. 'I am All, and All is Me.' That is: 'I am Pan, and Pan is me.'

The old goat-legged gentleman from Greece thoughtfully strokes his beard, and answers: 'All A is B, but all B is not A.' Aristotle did not live for nothing. All Walt is Pan, but all Pan is not Walt.

This, even to Whitman, is incontrovertible. So the new American pantheism collapses. 

Then the poets dress up a few fauns and nymphs, to let them run riskily--oh, would there were any risk!--in their private 'grounds.' But. alas, these tame guinea-pigs soon became boring. Change the game.

We still pretend to believe there is One mysterious Something-or-other back of Everything, ordaining all things for the good of humanity. It wasn't back of the Germans in 1914, of course, and whether it's back of the bolshevist is still a gave question. But still, it's back to us, so that's all right.

Alas, poor Pan! Is this what you've come to? Legless, hornless, faceless, even smileless, you are less than everything or anything, except a lie.

And yet here, in America, the oldest of all, old Pan is still alive. When Pan was greatest, he was not even Pan. He was nameless and unconceived, mentally. Just as a small baby new from the womb may say Mama! Dada! whereas in the womb it said nothing; so humanity, in the womb of Pan, said nought. But when humanity was born into a separate idea of itself, it said Pan.

In the days before man got too much separated off from the universe, he was Pan, along with all the rest.

As a tree still is. A strong-willed, powerful thing-in-itself, reaching up and reaching down. With a powerful will of its own it thrusts green hands and huge limbs at the light above, and sends huge legs and gripping toes down, down between the earth and rocks, to the earth's middle.

Here, on this little ranch under the Rocky Mountains, a big pine tree rises like a guardian spirit in front of the cabin where we live. Long, long ago the Indians blazed it. And the lightening, or the storm, has cut off its crest. Yet its column was always there, alive and changeless, alive and changing. The tree has its own aura of life. And in winter the snow slips off it, and in June it sprinkles down its little catkin-like pollen-tips, and it hisses in the wind, and it makes a silence within a silence. It is a great tree, under which the house was built. And the tree is still within the allness of Pan. At night, when the lamplight shines out the window, the great trunk dimly shows, in the near darkness, like an Egyptian column, supporting some powerful mystery in the overbranching darkness. By day, it is just a tree.

It is just a tree. The chipmunks skelter a little way up, the little black-and-white birds, tree-creepers, walk quick as mice on its rough perpendicular, tapping; the bluejays throng on its branches, high up, at dawn, and in the afternoon you hear the faintest rustle of many little wild doves, alighting in its upper remoteness. It is a tree, which is still Pan.

And we live beneath it, without noticing. Yet sometimes, when one suddenly looks far up and sees those wild doves there, or when one glances quickly at the inhuman-human hammering of a woodpecker, one realizes the the tree the tree is asserting itself as much as I am. It gives out life, as I give out life. Our two lives meet and cross one another, unknowingly: the tree's life penetrates my life, and my life the tree's. We cannot live near one another, without affecting one another.

The tree gathers up earth-power from the dark bowels of the earth, and a roaming sky-glitter from above. And all unto itself, which is a tree, woody, enormous, slow but unyielding with life, bristling with acquisitive energy, obscurely radiating some of its great strength.

It vibrates its presence onto my soul, and I am with Pan. I think no man could live near a pine tree and remain suave and supple and compliant. Something fierce and bristling is communicated. The piny sweetness is rousing and defiant, like turpentine, the noise of the needles is keen with æons of sharpness. In the valleys of wind from the western desert, the tree hisses and resists. It does not lean eastward at all. It resists with a vast force of resistance, from within itself, and its column is a ribbed, magnificent assertion.

I have become conscious of the tree, and of its interpenetration into my life. Long ago, the Indians must have been even more acutely conscious of it, when they blazed it to leave their mark on it.

I am conscious that it helps to change me, vitally. I am even conscious that shivers of energy cross my living plasm, from the tree, and I become a degree more like unto the tree, more bristling and turpentiney, in Pan. And the tree gets a certain shade and alertness of myself, within itself.

Of course, if I like to cut myself off, and say it is all bunk, a tree is merely so much lumber not yet sawn, then in a great measure I shall be cut off. So much depends on one's attitude. One can shut many, many doors of receptivity in oneself; or one can open many doors that are shut.

I prefer to open my doors to the coming of the tree. Its raw earth-power and its raw sky-power, its resnous rectness and resistance, its sharpness of hissing needles and relentlessness of roots, all that goes to the primitive savageness of a pine tree, goes also to the strength of man.

Give me of your power, then, oh tree! And I will give you of mine.

And this is what man must have said, more naively, less sophisticatedly, in the days when all was Pan. It is what, in a way, the aboriginal Indians still say, and still mean, intensely: especially when they dance the sacred dance, with the tree; or with the spruce twigs tied above their elbows.

Give me your power, oh tree, to help me in my life. And I will give you my power: even symbolized in a rag torn from my clothing,

This is the oldest Pan.


Or again, I say: 'Oh you, you big tree, standing so strong and swallowing juice from the earth's inner body, warmth from the sky, beware of me. Beware of me, because I am strongest. I am going to cut you down and take your life and make you into beams for my house, and into a fire. Prepare to deliver up your life to me."

Is this any less true when the lumberman glances at a pine tree, sees if it will cut good lumber, dabs a mark or number on it, and goes his way without further thought or feeling? Is he truer to life? Is it truer to life to insulate oneself entirely from the influence of the tree's life, and to walk about in an inanimate forest of standing lumber, marketable in St. Louis, Mo.? Or is it truer to life to know, with a pantheistic sensuality, that the tree has its own life, its own assertive existence, its own living relatedness to me: that my life is added to, or militated against, by the tree's life?

Which is really truer?

Which is truer, to live among the living, or to run on wheels?

And who can sit with the Indians around a big camp-fire of logs, in the mountain at night, when a man rises and turns his breast and his curiously-smiling bronze face away from the blaze, and stands voluptuously warming his thighs and buttocks and loins, his back to the fire, faintly smiling the inscrutable Pan-like smile into the dark trees surrounding, without hearing him say, in the Pan voice: 'Aha! Tree! Aha! Tree! Who has triumphed now? I drank the heart of your blood into my face and breast, and now I am drinking it into my loins and buttocks and legs, oh tree! I am drinking your heat right through me, oh tree! Fire is life, and I take your life for mine. I am drinking it up, oh tree, even into my buttocks. Aha! Tree! I am warm! I am strong! I am happy, tree, in this cold night in the mountains!'

And the old man, glancing up and seeing the flames flapping in flamy rags at the dark smoke, in the upper fire-hurry towards the stars and the dark spaces between the stars, sits stonily and inscrutably: yet one knows that he is saying: 'Go back, oh fire! Go back like honey! Go back, honey of life, to where you came from, before you were hidden in the tree. The tree climbs into the sky, and steal the honey of the sun, like bears stealing from a hollow tree-trunk. But when the tree falls and is put on to the fire, the honey flames and goes straight back to where it came from. And the smell of burning pine is as the smell of honey.'

So the old man says, with his lightless Indian eyes. But he is careful never to utter one word of the mystery. Speech is the death of Pan, who can but laugh and sound the reed flute.

Is it better, I ask you, to cross the room and turn on the heat at the radiator, glancing at the thermometer and saying: 'We're just a bit below the level, in here'?  Then go back to the newspaper.

What can a man do with his life but live it? And what does life consist in, save a vivid relatedness between the man and the living universe that surrounds him? Yet man insulates himself more and more into mechanism, and repudiates everything but the machine and the contrivance of which he himself is master, god in the machine.

Morning comes, and white ash lies in the fire hollow, and the old man looks at it broodingly.

'The fire is gone,' he says in the Pan silence, that is so full of unutterable things. 'Look! There is no more tree. We drank his warmth, and he is gone. He is way, way off in the sky, his smoke is in the blueness, with the sweet smell of a pine-wood fire, and his yellow flame is in the sun. It is morning, with the ashes of the night. There is no more tree. Tree is gone. But perhaps there is fire among the ashes, I shall blow it, and it will be alive. There is always fire, between the tree that goes and the tree that stays. One day I shall go --'

So they cook their meat, and rise, and go in silence.

 There is a big rock towering above the trees, a cliff. And silently a man glances at it. You hear him say, without speech:

''Oh, you big rock! If a man fall down from you, he dies. Don't let me fall down from you. Oh, you big pale rock, you are so still, you know lots of things. You know a lot. Help me, then, with your stillness. I go to find deer. Help me find deer.'

And the man slips aside, and secretly lays a twig, or a pebble, some little object in a niche of the rock, as a pact between him and the rock. The rock will give him some of its radiant cold stillness and enduring presence, and he makes a symbolic return, of gratitude.

Is it foolish? Would it have been better to invent a gun, to shoot his game from a great distance, so that he need not approach it with any of that living stealth and preparedness with which one live thing approaches another? Is it better to have a machine in one's hands, and so avoid the life contact; the trouble! the pains! Is it better to see the rock as a mere nothing, not worth noticing because it has no value, and you can't eat it as you can a deer?

But the old hunter steals on, in the stillness of the eternal Pan, which is so full of soundless sounds. And in his soul he is saying: 'Deer! Oh, you thin-legged deer! I am coming! Where are you, with your feet like little stones bounding down a hill? I know you. Yes, I know you. But you don't know me. You don't know where I am, and you don't know me, anyhow. But I know you. I am thinking of you. I shall get you. I've got to get you. I got to so it shall be.--I shall get you, and shoot an arrow right into you.'

I this state of abstraction, and subtle, hunter's communion with the quarry--a weird psychic connexion between hunter and hunted--the man creeps into the mountains.

And even a white man who is a born hunter must fall into this state. Gun or no gun! He projects his deepest, most primitive hunter's consciousness abroad, and finds his game, not by accident, nor even chiefly by looking for signs, but primarily by a psychic attraction, a sort of telepathy: the hunter's telepathy. The when he finds his quarry, he aims with a pure, spellbound volition. If there is no flaw in his abstracted huntsman's will, he cannot miss. Arrow or bullet, it flies like a movement of pure will, straight to the spot. And the deer, once she has let her quivering alertness be overmastered, or stilled by the hunter's subtle, hypnotic, following spell, she cannot escape.

This is Pan, the Pan-mystery, the Pan-power. What can men who sit at home in their studies, and drink hot milk, and have lamb's-wool slippers on their feet, and write anthropology, what can they possibly know about men, the men of Pan?

 Among the creatures of Pan there is an eternal struggle for life, between lives. Man, defenceless, rapacious man, has needed the qualities of every living thing, at one time or other. The hard, silent abidingness of rock, the surging resistance of a tree, the still evasion of a puma, the dogged earth-knowledge of a bear, the light alertness of the deer, the sky-prowling vision of the eagle: turn by turn man has needed the power of every living thing.  Tree, stone, or hill, river, or little stream, or waterfall, or salmon in the fall--man can by be master and complete in himself, only by assuming the living powers of each of them, as the occasion requires.

He used to make himself master by great effort of will, and sensitive, intuitive cunning, and immense labor of body.

Then he discovered the 'idea.' He found that all things were related by certain laws. The moment man learned to abstract, he began to make engines that would do the work of his body. So, instead of concentrating on his quarry, or upon the living things which made his universe, he concentrated on the engines or instruments which should intervene between him and the living universe, and give him mastery.

This was the death of the great Pan. The idea and the engine came between man and all things, like a death. The old connexion, the old Allness, was severed, and can never be ideally restored. Great Pan is dead.

Yet what do we live for, except to live? Man has lived to conquer the phenomenal universe. To a great extent he has succeeded. With all the mechanism of the human world, man is to a great extent master of all life, and of most phenomena.

And what then? Once you have conquered a thing, you have lost it. It's real relation to you collapses.

A conquered world is no good to man. He sits stupefied with boredom upon his conquest.

We need a universe to live in again, so that we can live with it. A conquered universe, a dead Pan, leaves us nothing to live with.

You have to abandon the conquest, before Pan will live again. You have to live to live, not to conquer. What's the good of conquering even the North Pole, if after the conquest you've nothing left but an inert fact? Better leave it a mystery.

It was better to be a hunter in the woods of Pan, than it is to be a clerk in a city store. The hunter hungered, labored, suffered tortures of fatigue. But at least he lived in a ceaseless living relation to his surrounding universe.

At evening, when the deer was killed, he went home to the tents, and threw down the deer-meat on the swept place before the tent of his women. And the women came out to greet him softly, with a sort of reverence, as he stood before the meat, the life-stuff. And the children looked with black-eyes at the meat, and at that wonder-being, the man, the bringer of meat.

Perhaps the children of the store-clerk look at their father with a tiny bit of the same mystery. And perhaps the clerk feels a fragment of the old glorification, when he hands his wife the paper dollars.

But about the tents the women move silently. Then when the cooking-fire dies low, the man crouches in silence and toasts meat on a stick, while the dogs lurk around like shadows and the children watch avidly. The man eats as the sun goes down. And as the glitter departs, he says: 'Lo, the sun is going, and I stay. All goes, but still I stay. Power of deer-meat is in my belly, power of sun is in my body. I am tired, but it is with power. There the small moon gives her first sharp sign. So! So! I watch her. I will give her something; she is very sharp and bright, and I do not know her power. Lo! I will give the woman something for this moon, which troubles me above the sunset, and has power. Lo! how very curved and shard she is! Lo! how she troubles me!'

Thus, always aware, always watchful, subtly poising himself in the world of Pan, among the powers of the living universe, he sustains his life and is sustained. There is no boredom, because everything is alive and active, and danger is inherent in all movement. The contact between all things is keen and wary: for wariness is also a sort of reverence, or respect. And nothing, in the world of Pan, may be taken for granted.

So the fire is extinguished, and the moon sinks, the man says to the woman: 'Oh, woman, be very soft and deep towards me, with deep silence. Oh, woman, do not speak and stir and wound me with the sharp horns of yourself. Let me come into the deep, soft places, the dark, soft place deep as between the stars. Oh, let me lose there the weariness of the day: let me come in the power of the night. Oh, do not speak to me, nor break the deep night of my silence and my power. Be softer than dust, and darker than any flower. Oh, woman, wonderful is the craft of your softness, the distance of your dark depths. Oh, open silently the deep that has no end, and do not turn the horns of the moon against me.'

This is the might of Pan, and the power of Pan.

And still, in America, among the Indians, the oldest Pan is alive. But here, also, dying fast.

[I was curious what Lawrence would have to say about Pan. Obviously I was thinking of Apocalypse by William Burroughs, which is the source for the title of this blog. But Lawrence's conception of Pan is quite different from Burroughs'. Lawrence has a lot of woo-woo pantheism here, which is weird because surely Lawrence knows that the root word "pan" means "all" and does not derive from the god Pan--although Pan is the root of the word "panic". And there is a lot of "noble savage" mythologizing here, which just seems racist. But this feeling that civilization was an error was a common trope of romanticism. You can read Wordsworth's poem "Lucy Gray" here.]

Sunday, January 24, 2021

Robert Boyd's Book Report: Robyn O'Neil: 20 Years of Drawings

 Robert Boyd


Today I report on Robyn O'Neil: 20 Years of Drawings by Robyn O'Neil. I got the book from O'Neil's website. It's listed at Bookshop.org, but it's back-ordered there so I don't know if you can get it through them. Best to go direct (also, that way, O'Neil gets all the money you pay for it). I recommend her podcast, Me Reading Stuff, which I've written about before.

Wednesday, January 20, 2021

Robert Boyd's Book Report: King-Cat no. 80

 Robert Boyd


Today I talked about King-Cat no. 80, a minicomic by John Porcellino. I mentioned Porcellino's small-press distro, Spit and a Half, which I recommend that you check out. I also mentioned how Porcellino visited Houston on a book tour, and I wrote about it then. I have written about his work in other posts as well. I want to recommend his books, as well. Check out The Hospital Suite, Perfect Example, Map of My Heart, and From Lone Mountain. I said it in the review and will repeat it here: John Porcellino is a great American artist.

Monday, January 18, 2021

Robert Boyd's Book Report: Henry Darger's Room

 Robert Boyd


Today's book report is a very odd art book, Henry Darger's Room: 851 Webster with an introduction by Kiyoko Lerner and a lengthy afterword by Darger scholar, John M. MacGregor. Darger has been mentioned in passing in this blog, but I've never written about his art specifically before.

Friday, January 15, 2021

Robert Boyd's Book Report: The Indispensable Composers

 Robert Boyd


Today's Book Report is a bit of an experiment. The Indispensable Composers by Anthony Tommasini is comprised of chapters about 17 important composers, so I included musical selections from each of the composers playing as I spoke. I don't know if this really works--you tell me.

Monday, January 11, 2021

Robert Boyd's Book Report: My Boy

 Robert Boyd


Today I looked at My Boy by Olivier Schrauwen. I've written about Schrauwen before, but not that much. Here is a good video interview with Schrauwen, talking about a 2014 graphic novel, Arsène Schrauwen. Other works mentioned were 29,000 years of bad luck, 30,000 years of bad luck, and Portrait of a Drunk.

Wednesday, January 6, 2021

What People Thought Were the Best Comics in 2020

Robert Boyd

Everyone has been producing their lists of the best of the year. I'm not going to try to build a meta-list this year (like I did last year for the best comics of the decade). But I do want to mention two lists that I respect: "SOLRAD’s The Best* Comics of 2020" and the Comics Journal's "The Best Comics Of 2020." I find it alarming how few of these books and comics that I know. It's startling confirmation of how old I am (and a less-painful confirmation than my morning back pains). 

In both lists, the editors have asked their regular writers to give them their best of 2020. So instead of one list, SOLRAD had 16 contributors make lists, and the Comics Journal had 15. SOLRAD asked contributors for their top 5 and the Comics Journal didn't seem to specify how many they wanted from each contributor, so the number varied. And at least one contributor, Francesca Lyn for SOLRAD, took "best of 2020" to mean the best comics she read, regardless of when they were created. I appreciate this because for me, any book that I read for the first time is new to me, even if I read it years after it was created.

I can't comment on comic I didn't read, except to say that these list make me want to go back and search out many books I missed. Below are the books on these lists that I did read.


Yoshiharu Tsuge, The Man Without Talent. (This one was chosen by Michael Aushenker, Robert Clough, Alex Hoffman and Nicholas Burman for SOLRAD and Austin Price and Matt Seneca for the Comics Journal.) I wrote about this book when it came out. A book that moved me in its depiction of depression.


O. Schrauwen and Ruppert & Mulot, Portrait of a Drunk. (Chosen by Jef Harmatz for SOLRAD and Helen Chazan, Joe McCulloch, Brian Nicholson and Matt Seneca for the Comics Journal) This grim story of a terrible alcoholic sailor named Guy set in the 17th or 18th century was a portrait of unrelieved misery, kind of an Under the Volcano in comics form. I like both Schrauwen and the team of Ruppert and Mulot, and they blended their work seamlessly here. A great book.

Werewolf Jones is frequently erect in Crisis Zone

Simon Hanselmann, Crisis Zone. (Chosen by Rob Clough and Alex Hoffman for SOLRAD and Clark Burscough and RJ Casey for the Comics Journal). This demented strip was drawn and posted on Instagram daily by Hanselmann. It was a COVID project. His usual characters star in it--it involves Megg, Mogg and Owl in a series of COVID-isolation adventures, and includes BLM riots and a Netflix reality show starring Werewolf Jones called "Anus King." Whatever extreme limits you can imagine, this comic shattered them. Johnny Ryan may have seemed like the taboo-breaking heir of the undergrounds, but I give that crown to Simon Hanselmann. 

Gabrielle Bell, Inappropriate (Chosen by Francesca Lyn for SOLRAD ). I love Gabrielle Bell's work, and I loved Inappropriate, but it doesn't come close to being my favorite of her works. Any Bell is worth reading, though. Inappropriate consists of short, somewhat surreal stories, which feel similar to where she started early in her cartooning career.

Derf Backderf, Kent State: Four Dead in Ohio (Chosen by my old friend Charles Hatfield for SOLRAD and Rob Kirby for the Comics Journal). Backderf had the bad luck to publish a major work of non-fiction comics in the middle of the pandemic. I did one of my first book reports on it.


Adrian Tomine, The Loneliness of the Long-Distance Cartoonist (Chosen by James Romberger for SOLRAD and Hillary Brown and Rob Kirby for the Comics Journal) I've followed and written about Adrian Tomine since he was a teenager doing minicomics. This book is unique among all the comics here because I'm actually mentioned in the text. Tomine mentions an early review I did, I think for the Comics Journal. It's an autobiographical comic and in common with many of my favorites this year, the protagonist is thoroughly unlikable (a bold move for autobiography!). Tomine is really good when he allows himself to be funny, and this book is very funny.


John Pham, J&K  (Chosen by Nicholas Burman for SOLRAD and Matt Seneca for the Comics Journal). I read this book this year and loved it. It depicts the somewhat surreal adventures of friends J & K and comes with oddball extra goodies--trading cards, a mini-magazine, and weirdest of all, a 5-inch 45 rpm record. It was published in 2019, but I didn't read it until January of this year.

panel from "Giving Thanks in 2020" by Eleanor Davis
 

Giving Thanks in 2020, Eleanor Davis (Chosen by Hillary Brown for the Comics Journal). This strip was published online by The New York Times on Thanksgiving. Brown wrote, "It’s not really fair to keep asking Eleanor Davis to turn herself inside out for our pleasure..." I'm not qualified to call Eleanor David the greatest living American cartoonist, but she's my personal favorite at the moment.


 panel by Emily Flake from the Nib

The Nib. (Chosen by Hillary Brown for the Comics Journal). The Nib publishes new political comics nearly everyday, by excellent cartoonists like Matt Bors, Emily Flake, Pia Guerra, Ruben Bolling, Jen Sorensen and many others. I read it almost every day. 


 Jim Woodring, And Now, Sir?Is THIS Your Missing Gonad?  (Chosen by Helen Chazan for the Comics Journal). This is kind of a minor work by Jim Woodring, which like calling an early piano concerto by Mozart a minor work. It is filled with enigmatic "gag" cartoons that stretch the reader's brain. This reader, anyway.

Paul Ragabliati, Paul at Home  (Chosen by Rob Kirby for the Comics Journal). I did a book report on this great book in December.  Like so many of the books on this list, it features an unpleasant protagonist. And like The Loneliness of the Long Distance Cartoonist, it is autobiographical. 


Yoshiharu Tsuge, The Swamp (Chosen by Matt Seneca and  Tom Shapira for the Comics Journal). This is supposed the first of several volumes of Tsuge's work to be published in English. It's some of his early work, and it many of the stories had the feel of earlier, pulpier stories. They often have obvious twists. But there is much to admire here, including the story "Chirpy." It's not as good as The Man Without Talent, though.


Kim Deitch, Reincarnation Stories (Chosen by Frank Young for the Comics Journal). I loved it, but I love everything by Kim Deitch. A minor Deitch book, but still utterly pleasurable.


Ruben Bolling, Super Fun-Pak Comix Reader (Chosen by Frank Young for the Comics Journal). I loved this collection and did a video about it in November. 


And that's it--everything that was listed on SOLRAD's and the Comics Journal's best of 2020 lists that I had read. The one omission from both lists that surprised me was Grip by Lale Westvind. This book was published in 2020 and certainly qualified. I reported on it here.