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Tag: gilbert hernandez

Love and Rockets: The Story Behind the Great American Comic

A documentary on the Hernandez Brother’s groundbreaking alternative comic Love & Rockets will launch the new season of KCET’s art and culture series Artbound, streaming on the PBS app October 5, 2022.

Love & Rockets turns 40 this year, and if you have $400 USD burning a hole in your pocket, Fantagraphics are collecting together bound facsimiles of the original fifty issues in a special eight-volume boxed set. (Although I would settle for a slightly more affordable Love and Rockets #24 t-shirt myself!)

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Not Quite an Autobiography: Gilbert Hernandez on Marble Season


Gilbert Hernandez talks to The Telegraph about his latest book, Marble Season, and making a comic his daughter could read:

“I thought: what kind of book can I do that’s authentic to what I do, but that my daughter can read?” Hernandez’s daughter is 12, a little young for the zombie splatter of his Fatima: The Blood Spinners or the sexually omnivorous pornography of Birdland. “I thought I’d put myself into Marble Season,” Hernandez says, “but it wasn’t going to have all those things that my daughter can’t look at, or I don’t want her to look at. I wanted to live up to a lot of the good response I’ve had in the past, but put that effort into something that’s, let’s say, clean. For want of a better word…”

Although Marble Season seems a radical departure, Hernandez sees balance and change as essential to his creative process. “My personality is all in my comics, and my personality is all over the place,” he explains. “I’m not a trained technical artist. It’s all visceral and it just comes up – it’s where my brain is that morning when I get up.” It is this desire to experiment – he has complained in the past about being expected to be “a do-gooder cartoonist” – that led to his other ongoing project, the noirish, over-the-top Fritz books.

“In those, I’m thinking about how far the underground cartoonists had gone,” he says, “in particular S Clay Wilson and Robert Crumb. Wilson was criticised as a crazy person in his day, but now he’s one of the grand old artists of the underground. I haven’t even gone as far as Crumb, and yet he’s an American icon. I want to push myself, in a way, so my imagination goes crazy with inventive horror.”

The Telegraph.

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Midweek Miscellany

Keeping it Simple — Gilbert Hernandez who has two new books out, Julio’s Day and Marble Season, talks about his work at the LA Times Hero Complex blog:

“What I’m really trying to do is streamline my work, to make it an easier read,” he said. “I’ve always admired newspaper comic strips that are very simple and direct, don’t have a lot of dialogue, don’t have a lot of exposition. When I look back at a lot of the comics that are overwritten, like the beloved old Marvel comics, I edit them in my head, to see how modern readers might become more interested in following them. When I look at my old stuff, like ‘Poison River’ and the early ‘Palomar’ stuff, I sometimes think it’s too dense to enjoy. For me, anyway.”

Mechanics — Tom Whipple on algorithms for Intelligent Life:

What has changed is what algorithms are doing. The first algorithm was created in the ninth century by the Arabic scholar Al Khwarizami—from whose name the word is a corruption. Ever since, they have been mechanistic, rational procedures that interact with mechanistic, rational systems. Today, though, they are beginning to interact with humans. The advantage is obvious. Drawing in more data than any human ever could, they spot correlations that no human would… Their strength is that they can take in that information in ways we cannot quickly understand. But the fact that we cannot understand it is also a weakness.

Cardboard Boxes — At The New York Times, Dwight Garner on packing up his family’s favourite picture books:

In the past, when I’ve had to pack my personal library, what I’ve boxed are talismans of intense yet essentially private experience. Picture books aren’t like this. When you’re putting away these square, dog-eared, popcorn-butter-stained things, you’re confronting an entire cosmos of collective memory… They occupy places in our family’s shared consciousness as indelibly as do summer vacations, trips to the hospital or injured birds cared for in cardboard boxes.

And finally (but most importantly)…

A profile of Kim Gordon at Elle Magazine:

Sonic Youth is not just revered within the indie rock world; it’s an indelible part of American pop-cultural history, a sort of byword for tasteful and progressive art that’s also popular. “She was a forerunner, musically,” says Kathleen Hanna, of the riot grrrl band Bikini Kill and later the dance-rock group Le Tigre. “Just knowing a woman was in a band trading lead vocals, playing bass, and being a visual artist at the same time made me feel less alone.” Hanna met Gordon when she came to a Bikini Kill show in the early ’90s. “She invited my band to stay at her and Thurston’s apartment,” Hanna says. “As a radical feminist singer, I wasn’t particularly 
well liked. I was in a punk underground scene dominated by hardcore dudes who yelled mean shit at me every night, and journalists routinely called my voice shrill, unlistenable. Kim made me feel accepted in a way I hadn’t before. Fucking Kim Gordon thought I was on the right track, haters be damned. It made the bullshit easier to take, knowing she was in my corner.”

(Tasteful is not a word I would necessarily use in association with Sonic Youth, but hey… )

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What Is All This?

Fantagraphics Art Director Jacob Covey‘s first foray into designing for prose fiction is this cover for a 600-page collection of short stories by Stephen Dixon, What Is All This?

Incidently, Jacob also did a nice job colouring Gilbert Hernandez‘s cover art for Kristen Hersh‘s new memoir, Rat Girl. The design is by Jaya Miceli at Penguin Books:

You can read my interview with Mr. Covey here.

I colored Gilbert Hernandez’s cover art to Kristen Hersh’s new memoir, Rat Girl. Fairly easy job but it gives me an excuse to plug the book and the design work of Jaya Miceli over at Penguin Books.

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