Graphic novels | The Will and Ann Eisner Family Foundation and the American Library Association will launch the Will Eisner Graphic Novel Prize for Libraries at the ALA summer conference, held June 21-26 in Anaheim, California. Three libraries each year will be selected to receive all the books nominated for the Will Eisner Comic Industry Awards, as well as a $2,000 voucher to buy additional graphic novels and a $1,000 stipend to hold comics-related or author events. Libraries to register to win at the ALA conference; winners will be announced June 24. [Publishers Weekly]
Graphic novels | Calvin Reid and Heidi MacDonald look at the graphic novel presence at last week’s BookExpo America. [Publishers Weekly]
To see what Ao and the Robot 6 crew have been reading, click below …
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
If I had $15 this week, I’d avoid Marvel and DC altogether and go for some more independent offerings. Top of the pile would definitely be Prophet #21 (Image, $2.99), Brandon Graham’s much-anticipated revamp of the Rob Liefeld book from the mid-90s, recreated (with artist Simon Roy) as some kind of Heavy Metal fever dream; I’m a massive fan of Graham’s, and excited to see what he can come up with when he tries to play it (relatively) straight. I’d also grab Dynamite’s Kirby Genesis: Dragonbane #1 ($3.99), another spin-off from the Busiek/Ross/Herbert series this time focusing on the almost Thor-analog warrior, and IDW’s Memorial #2 ($3.99), continuing the urban fantasy series that I enjoyed so much last month. Lastly, I’d grab the cheap relaunch for Antony Johnston’s Wasteland (#33, Oni, $1.00); I’ve really enjoyed this post-apocalyptic world building book for awhile, but this relaunch – which will return the book to a monthly schedule as well as debut new artist Justin Greenwood – looks set to be a good jumping-on point for those who’ve never sampled its charms before.
If I had $30, I’d be likely to put Dragonbane back on the shelf and try out Marvel’s Fear Itself: Journey Into Mystery Premiere HC collection ($19.99) instead. Not having been a fan of Matt Fraction’s Thor, I skipped the first few issues of this and then, by the time I kept hearing great things and realized I actually really enjoy Kieron Gillen’s writing, it was far enough into the run that I knew I’d end up waiting for the collection. Color me cautiously optimistic.
When it comes to splurging, my love of comics from around when I was born rears its ugly head again, and I find myself drawn to Marvel Firsts: 1970s Vol. 1 TP (Marvel, $29.99). This is possibly my favorite era from the House of Ideas, so the idea of an anthology of some of its weirdest hits sounds right up my alley.
“There’s a kind of comic I want to see and it doesn’t exist, so I’m going to make it”: Sammy Harkham on Kramers Ergot 8
“You can tell I’m still making sense of it myself.” So says Sammy Harkham of the eighth volume of his landmark anthology series, Kramers Ergot, at one point during our lengthy conversation about the book. And indeed, Harkham’s side conversation is characterized by strategic pauses, halves of sentences that trail off and are abandoned as Harkham retreats, rethinks, and rearticulates. Despite his ebullient cadence – Harkham’s as great a talker as he is a tweeter – it’s quite clear that the amount of thought he put into this comparatively slim and quiet volume of his once-overflowing and raucous art-comics anthology is nearly overpowering.
So is the collection itself. Despite featuring a much smaller roster than previous volumes in the series, and despite a much less “noisy” visual aesthetic than that which has characterized the series since its phone book-sized fourth volume caused a sensation upon its release at the MoCCA Festival in 2003, Kramers Ergot 8 has an intensity that’s tough to shake. Contributors like C.F. (aka Christopher Forgues) and Chris Cilla craft uncomfortable but undeniably erotic sex scenes, which sit next to grim science-fiction parables from Gary Panter and Kevin Huizenga and gruesome horror tragedies by Johnny Ryan and Harkham himself. Fine artists Robert Beatty and Takeshi Murata contribute pieces as visually vibrant as the stories of crime and desire from Gabrielle Bell and the team of Frank Santoro and Dash Shaw are bleak. A cheekily provocative introductory essay from musician Ian Svenonius and a massive selection of racy reprinted Oh, Wicked Wanda! comics from the pages of Penthouse prove perplexing – but it’s a good perplexing, because it forces the reader to consider just how fingernails-on-a-chalkboard effective the rest of the volume is at discomfiting them.
With the book on its way to stores from PictureBox Inc. in a couple of weeks, Harkham took an hour before picking his two older kids up at school to talk about this very personal project. We started off talking about our respective babies; fitting, then, that by the end of the interview a fascinating picture emerged of what Harkham wanted Kramers 8 to be that proved every pause along the way was a pregnant one.
Sean T. Collins: Kramers Ergot 8 debuted at the Brooklyn Comics and Graphics Festival in December, but your third baby debuted not long before that. That had to be a challenge.
Sammy Harkham: Knowing the baby’s coming, you work knowing that when that baby comes, things are gonna shut down. The book only got finished mid-September, and then the baby came. It was funny, because I drew my comic [for the anthology] when the book was done, basically. I thought, “I’ll do a simple issue of Kramers, I’ll do a story for it, and then I’ll get back to Crickets.” But editing, for me, is like working on my own book, as if it’s fully just me. I’m thinking about it day and night, and it’s hard for me to then think of a story within that if I don’t already have one that I’m working on. So at a certain point I decided I’m not going to be in the book. Then it was clear I needed to be in the book, because I wanted a very particular kind of story in it [laughs]. “I guess I’m gonna have to do it.” It was a flurry of activity August into September, then it was done, then the book was done, and then I was just…breathing, you know? But I felt like, “Oh man, I really should be working right now before the baby comes.” But since the baby came I’ve still been doing stuff. You know what it’s like: a lot of tricky hours, and getting used to weird working habits. You work for five minutes, but you try to make it a good five minutes. You try to break it up. And I try not to lose my temper. I get resentful of the people around me when they’re asking for my help and I’m in the middle of something. [Laughs] If I’m in the middle of writing or drawing something, I wanna finish the thought. So I’ve got to think of those Dalai Lama tweets I read earlier in the day. [Laughs] You’ve got to get into the headspace where you’re malleable in that way, you’re flexible.
But Kramers was late this year. Nadel wanted it in July, but I’ve never been able to deliver that book on time, never. This one was particularly hard because there were so few contributors, so I couldn’t lose anybody without it affecting the whole thing. Whereas in previous issues there are so many people that unless it’s a really big strip – it’s a shame to lose anything, you don’t want to lose anything, but you can. You can lose a one- or two-pager. But with this, if CF is running late, there’s nothing we can do. I told [PictureBox Publisher Dan] Nadel that up front: “I hope to get the book done on time, but if Panter’s not ready, if Christopher’s not ready, if any of these people aren’t ready, we can’t do anything.” [Laughs] We’re at the mercy of them, really.
From noon to 9 p.m. tomorrow the Brooklyn Comics and Graphics Festival (or BCGF as it’s more commonly known) will take place at Our Lady of Mt. Carmel Church, 275 North 8th Street, Williamsburg, Brooklyn. The show, curated by Picturebox, Desert Island and Bill Kartalopolous, has very quickly built up a reputation as being one of the “must-attend” indie shows on the East Coast, and this year promises to be the the most impressive and largest show yet with a murderer’s row of top-flight guests and expanded exhibitors list debuting some killer-looking books. Best of all, the show is free to attend, so
Click on the link below to read a run-down of who will be debuting what, when and where:
Looks like the mother of all post-millennial art/alt-comix anthologies is about to get a makeover. Last Thursday, editor Sammy Harkham and publisher Dan Nadel of PictureBox Inc. announced the November 2011 release of Kramers Ergot 8, the latest installment in Harkham’s “this is why the word ‘seminal’ exists” anthology series. According to Harkham and Nadel, the new volume will mark a break from the four previous, sprawling, all but physically intimidating collections — a smaller, more focused effort, featuring longer 16-24-page stories from about a dozen creators, working with the same aesthetic end in mind instead of the potpourri of approaches evident in earlier volumes. The line-up includes Harkham, cover designer Robert Beatty, Gary Panter, Gabrielle Bell, C.F., Kevin Huizenga, Ben Jones, Jason T. Miles, Leon Sadler, Johnny Ryan, Frank Santoro & Dash Shaw, Anya Davidson, Ron Rege Jr., Ron Embleton & Frederic Mullally.
Another day, another link to Jordan Crane’s must-read What Things Do webcomics portal. This time it’s Dan Zettwoch’s “Crossfader,” which originally ran in the equally indispensable print anthology Kramers Ergot 6. Using Zettowch’s trademark diagram-style layouts, it’s a good-natured look at a fictional midwestern church’s Fall Festival “haunted house,” the centerpiece attraction of which is a lighting trick that transforms a girl into a gorilla. (I think this represents “the horrors of evolution.”) Chances are good you’ve never read comics quite like Zettwoch’s before — it’s no sin to check ‘em out.
Pigeon Press wuz robbed! Publisher Alvin Buenaventura reports that his new publishing venture had two copies of the legendary, gigantic, expensive hardcover anthology Kramers Ergot 7 stolen from its table at APE this past Sunday morning. Buenaventura, who’s had a rough enough year as it is, is looking for help from any APE exhibitors and attendees who may have witnessed the thieves in action. With a book that size, they’d be hard to miss.
If you were at APE and you saw something, say something! Not only will you help catch a thief and (hopefully) facilitate the return of some very expensive merchandise, you’ll also help solve the mystery of how anyone could waltz away with two copies of a book roughly the size of a Great Dane.
“5 years, 20 volumes, 72 artists, and 2,352 pages of comics.” Strictly by the numbers — taken from the Editor’s Notes that kick off Mome Vol. 20: Fall 2010, on sale this month — Fantagraphics’ signature anthology is a force to be reckoned with. Launched in 2005 with the intention of providing a regular home for new work by promising young cartoonists like Gabrielle Bell, Jeffrey Brown, Anders Nilsen, Paul Hornschemeier, and Sophie Crumb, it rapidly evolved into something else, something arguably more: a showcase for alternative comics of nearly every style and stripe. During its five-year history, Mome‘s diverse accomplishments have included publishing work from European greats like David B. and Lewis Trondheim, serializing Tim Hensley’s acclaimed graphic novel Wally Gropius, reintroducing Al Columbia to the comics scene prior to the release of his landmark Pim & Francie, giving Dash Shaw yet another forum for his experimental take on science fiction, providing an unlikely venue for underground legend Gilbert Shelton, showcasing up-and-comers like Jon Vermilyea and Nate Neal…and, like all anthologies, starting a good deal of debate over which contributors were any good at all. With its like-clockwork quarterly schedule, Mome is a go-to destination for finding out what’s going on at comics’ cutting edge.
Presiding over all this has been editor Eric Reynolds, who inherited full control of the anthology from original co-editor and co-publisher Gary Groth. When last I spoke to Reynolds about Mome in October of 2007, he was prepping Vol. 10, which sported a new look, new work from Columbia, and the second half of a story by altcomix titan Jim Woodring. Three years and ten issues later, the series has gotten a full-on makeover from designer Adam Grano, and is in the midst of some of its most challenging work ever from Shaw, Josh Simmons, Derek Van Gieson and more. What has changed, what has remained constant, and what lies in store? Reynolds spoke with Robot 6 about all this and more in a fifth-anniversary interview.
If I’d ask you five years ago to describe what Mome Vol. 20 would look like, what would you have said?
I would’ve said there’s no way this thing’s going to last 20 issues. Really, I’m sure I would have had no other answer.
Or maybe that headline needs a question mark instead of an exclamation point — I’m not exactly sure, and publisher Alvin Buenaventura is letting the picture at right speak for him. But, yes, over on the Blog Flume group blog, Buenaventura posted the image, announcing the launch of Pigeon Press with the latest installment in two of the late, lamented Buenaventura Press’s comic series, Matt Furie’s Boy’s Club #4 and Lisa Hanawalt’s I Want You #2.
It was with heavy heart that we reported the closing of Buenaventura Press back in June after several months in limbo, owing to what Buenaventura described a single knockout financial-legal blow. In addition to comics by Furie, Hanawalt, Ted May, and Eric Haven, BP also released high-end prints, the acclaimed critical publication Comic Art, and recent volumes of Sammy Harkham’s hugely influential anthology series Kramers Ergot. It remains to be seen just how much of a continuation of that work Pigeon Press constitutes, but it’s certainly good to see Boy’s Club and I Want You back in the game at the very least.
On Friday, publisher Alvin Buenaventura announced he had shut down his imprint Buenaventura Press as of this past January, due to a single knockout legal/financial blow. Publicly available details are few, in keeping with the private way the move has been handled for the past six months. But comics creators and critics en masse are mourning BP’s demise and reading the tea leaves as to where its publisher, artists, and entire brand of comics will land.
Robot 6 reached out to several of the artists published by Buenaventura, as well as a few of his fellow publishers, for their reaction:
Working with Alvin over the years has been really amazing. He has introduced me to a lot of magical and influential artists and hooked me up with tons of inspiring and perverted books. His place has awesome shit scattered all over- mountains of crazy books, toys, memorabilia, gigantic figures, artwork- it’s like a bomb went off. Now that he’ll be taking a break from the business we’ll finally have more time to play Rock Band and trip out on weird TV shows.
–Matt Furie, writer/artist, Boy’s Club
Continuing our countdown of (in our opinion, obviously) the most important and influential comics of the past ten years, here’s the second half of our list, from #15-1. If you missed it, you can read part one over here, with an explanation of how we put the list together and the (admittedly somewhat arbitrary) ranking. Can you guess what made number one? (hint: it’s not one of the books sampled in the collage above.) Read on to find out!
Standing nearly two feet tall, boasting over 50 contributors (including Matt Groening, Chris Ware, Jaime Hernandez, Daniel Clowes, and Adrian Tomine), and costing $125, Kramers Ergot 7 — the latest installment of the avant-garde anthology series from editor Sammy Harkham and publisher Alvin Buenaventura — was a famously, even infamously, grand production. And now…it’s a minicomic?
Artist Hall Hassi has created what she calls a “ke7 zine“ — a 96-page, 8.5″ x 5.5″, black-and-white xeroxed version of the massive full-color hardcover. Pictures of the finished product can be found at the blog of artist Blaise Larmee, who notes that “sometimes the text is entirely legible. sometimes not at all.” God only knows what kind of Kinko’s kung fu had to be applied to even get the book to fit on a photocopier, so not being able to read some of it seems like a small price to pay.
Email Hassi if you’re interested in purchasing one — unless you’re Sammy Harkham himself, who’s still waiting to find out when he can expect a contributor copy.
(Via Kramers contributor James McShane.)
I somehow missed this in Tucker Stone’s report from MoCCA last week, but luckily Heidi over at the Beat caught it — Stone spoke with John Kerschbaum about his future projects, and the creator revealed that he’s working on this year’s Bart Simpson’s Treehouse of Horror book for Bongo Comics.
Kerschbaum isn’t the only one working on the book, though; as you can see below in the solicitation copy that Bongo was kind enough to send us, they’ve recruited a Murderer’s Row of creators, including Jeffrey Brown, Kevin Huizenga, Matthew Thurber and many more, and it’s edited by Sammy Harkham of Kramers Ergot fame:
Bart Simpson’s Treehouse of Horror #15
Edited by Sammy Harkham
48 pages/standard format/color/humor
UPC: 01511 (7-98342-02851-5)
Guest edited by Sammy Harkham, the award-winning creator of the popular Kramers Ergot anthology, this year’s issue is a jam-packed with some of the most idiosyncratic (and weirdest) takes on “The Simpsons” universe ever. Among Halloween-inspired short strips by such visionary cartoonists as Jordan Crane (Uptight), C.F. (Powr Mastrs), Will Sweeney (Tales from Greenfuzz), Tim Hensley (MOME), and John Kerschbaum (Petey & Pussy), are four featured tales of inspired Simpsons lunacy: heralded artists Kevin Huizenga (Ganges, Or Else) and Matthew Thurber (1-800 Mice, Kramers Ergot) collaborate on a weird and wild story equal parts Lovecraftian eco-horror and Philip K. Dick identity comedy. Jeffrey Brown (Incredible Change-Bots, Clumsy) does a creepy and suitably pathetic story featuring Milhouse in a “Bad Ronald”-inspired tale of murder and crawl space living. Harkham and Ted May (INJURY) pull out all the stops for a tragic monster tale of unrequited love, bad karaoke, and body snatching at Moe’s Bar. Ben Jones (Paper Rad) does the comic of his life with an epic tale of how bootleg candy being sold at the Kwik-E-Mart rapidly spirals out of control into an Invasion of The Body Snatchers-like nightmare of a Springfield filled with cheap bootleg versions of familiar characters. And nobody does squishy, sweaty, and gross like up and coming cartoonist Jon Vermilyea (MOME), who outdoes himself with “C.H.U.M.M.,” a C.H.U.D.-inspired parody featuring everybody’s favorite senior citizen, Hans Moleman!
With a cover by Dan Zettwoch, Bart Simpson’s Treehouse of Horror #15 is like nothing you’ve ever seen, and is sure to be one of the most talked about comics of the year by alternative comic readers and Simpsons fans of all ages!
This goes on my “must buy” list.