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Identity and Form in Alternative Comics, 1967 – 2007

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Identity and Form in Alternative Comics, 1967 – 2007 IDENTITY AND FORM IN ALTERNATIVE COMICS, 1967 – 2007 Emma Tinker UCL 2008 1 I, Emma Tinker, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT Identity and Form in Alternative Comics, 1967 – 2007 In the late 1960s, underground cartoonists established the comic book form as a space for the exploration of personal identity. “Alternative” comics grew out of this tradition as subsequent writers produced work independently of the major comics publishers, aimed at an adult audience and encompassing a broad range of visual styles and narrative content. Throughout the past forty years, British, US and Canadian writers and artists have used this medium to explore questions of selfhood and perception, often implicitly or overtly relating these issues to the form, history and conventions of the comic book itself. Two main threads run through this discussion of the representation of selfhood: childhood and memory on the one hand and sexuality and gender on the other. This thesis argues that for many creators there exists a useful analogy between the comic book form and mental processes, specifically between the fractured, verbal-visual blend of the comics page and the organisation of human memory. It further suggests that the historical association of comics first with childhood, and subsequently with male adolescence, has conditioned the representation of selfhood in adult comics. Comic book consumption has often centred on a community of predominantly young, white, male, socially marginal readers, buying and collecting serialised narratives. Comics creators’ awareness of this audience (either in response or resistance) has affected the content of their work. Although presented as a chronological narrative, this thesis is not a comprehensive history of Anglophone alternative comics, but centres on eight prominent authors/artists: Robert Crumb; Dave Sim; Lynda Barry; Julie Doucet; Alan Moore; the collaborative partnership of Neil Gaiman and Dave McKean; and Chris Ware. Whilst spanning a wide range of genres and themes (autobiography, fantasy, gothic horror, parody, soap opera, the grotesque and others) each confronts and negotiates with conventions regarding the representation of selfhood. Emma Tinker PhD University College London October 2008 3 ACKNOWLEDGEMENTS In researching and writing this thesis I have been exceptionally fortunate to have had advice and feedback from three excellent supervisors. I am indebted to Pam Thurschwell and Greg Dart for their thorough reading, sensible criticism and great patience. I owe particular thanks to Roger Sabin, my unofficial supervisor, without whose astonishing generosity, hard work and encyclopaedic knowledge of comics this thesis could not have been written. I also owe considerable gratitude to the Arts and Humanities Research Council for their generous financial support, and to University College London Graduate School, whose Research Scholarship for Cross-Disciplinary Training enabled me to broaden my understanding of visual culture through a year at the Slade School of Fine Art. This thesis would not exist in its current form without the help of many friends. Many thanks to Libby Burgess for her meticulous proof-reading, and to Tim Whiteley for his translation of material on Julie Doucet. I am also grateful to Danny Graydon for introducing me to adult comics in the first place, and for providing me with many valuable research materials. Thanks are due to my partner Tom King, for many things, but especially for his invaluable technical support, and for teaching me to use Adobe InDesign. Finally, I owe a great debt to my parents Dot and Mark Tinker for thirty years of support and encouragement, and for imposing absolutely no censorship on my childhood reading matter. An early version of chapter 1, and parts of chapter 7, were presented as conference papers at the Popular Culture Association Conference, Atlanta, GA, April 2005, and at the Third International Conference on the Book, Oxford Brookes University, September 2005. I am grateful to UCL Graduate School for providing me with funds to attend these conferences. 4 CONTENTS ABSTRACT………………………………………………………………..….……….. 3 ACKNOWLEDGEMENTS………………………………………………..….……….. 4 CONTENTS……………………………………………………………….…….……... 5 LIST OF ILLUSTRATIONS…………………………………………….……………….……….. 6 A NOTE ON TEXTS AND SOURCES ………………………………………….…… 9 INTRODUCTION ……………..……………………………………………………… 10 CHAPTER ONE: Robert Crumb’s carnival subjectivity …………………….... 28 CHAPTER TWO: The aardvark hero: Dave Sim’s Cerebus……………..…… 62 CHAPTER THREE: Selfhood and trauma in Lynda Barry’s “autobifictionalography”……………………………….………………………… 106 CHAPTER FOUR: From Riot Grrrl to fine artist: transformations in the work of Julie Doucet ……………………………………...……………………………... 136 CHAPTER FIVE: Romantic selfhood in the comics of Alan Moore ………. 174 CHAPTER SIX: Childhood and memory in the comics of Neil Gaiman and Dave McKean…………………………………………………………...….……….. 206 CHAPTER SEVEN: Nostalgia, collection and identity in the comics of Chris Ware …………………………………………………………………………..……... 237 CONCLUSION ……………………………………………………………………… 269 WORKS CITED …………………………………………………………….………. 273 5 ILLUSTRATIONS Figure 1. R. Crumb. Back cover, Zap #0 (October 1967). Rpt. in The Complete Crumb 4.102. Figure 2. R. Crumb. “All Meat Comics”. (Big Ass #1, June 1969). Rpt. in The Complete Crumb 6.29. Figure 3. R. Crumb. “Head Comix”. (Yarrowstalks #2, Summer 1967), Rpt. in The Complete Crumb 4.60. Figure 4. R. Crumb. “You’re Gonna Get There Anyway". (EVO, December 1-16 1967). Rpt. in The Complete Crumb 5.2. Figure 5. R. Crumb. “Cat Life” (September 1959 – February 1960), Rpt. in The Complete Crumb 1.47; “Robin Hood” (March 1960), in The Complete Crumb 1.66. Figure 6. Carl Barks, “Uncle Scrooge in Land Beneath the Ground”, (Uncle Scrooge 13, March 1956), Rpt. in Carl Barks’ Greatest Duck Tales Stories Volume 1. N. pag. Figure 7. R. Crumb. Hytone Comix (back cover) (1971), Rpt. in The Complete Crumb 7.69. Figure 8. R. Crumb. “Advertisement for “Weirdo” magazine” (High Times #94, June 1983), Rpt. in The Complete Crumb 14.52. Figure 9. R. Crumb. “Schuman the Human’s Night of Terror” (Motor City #2, February 1970); “Whiteman” (Zap #1, November 1967); “Mr. Natural in Death Valley” (Zap #0, October 1967); “Old Pooperoo” (June 1967). All in The Complete Crumb 4.105; 6.144; 4.88; 4.31. Figure 10a-b. R. Crumb Fritz the No-Good (Cavalier, Sept-Oct 1968), Rpt. in The Complete Crumb 5.45-6. Figure 11. Roy Thomas and Barry Windsor Smith, “Red Nails”. Rpt The Tower of the Elephant and other stories (The Chronicles of Conan Vol. 1) (2003). 104. Figure 12. Dave Sim. Front cover, Cerebus #3 (April 1978). Figure13a-o. Dave Sim, Guys (Cerebus Book 11) (1997) 54-68. Figure 14. Lynda Barry, “Breaking Up: Your Guide to Painful Separation” (1981), Rpt. in Big Ideas (1983) 69. Figure 15. Lynda Barry, “Girls and Boys” (1980), Rpt. in Girls and Boys, 46. Figure 16. Lynda Barry, “How Things Turn Out” (1986). Rpt. in The Fun House, N. pag. 6 Figure 17. Lynda Barry, “Perfect” (1990). Rpt. in My Perfect Life, 24-5. Figure 18. Lynda Barry, The Freddie Stories (1999) 79. Figure 19. Lynda Barry, One Hundred Demons (2002) 62. Figure 20. Lynda Barry, One Hundred Demons (2002) 168. Figure 21. Lynda Barry, “Branded” (1986). Rpt. in The Fun House, N. pag. Figure 22. Lynda Barry, “You Are Leaving” (1991). Rpt. in It’s So Magic , 106-7. Figure 23. Julie Doucet, Dirty Plotte #7 (1993), back cover. Figure 24. Julie Doucet, My Most Secret Desire (1995), back cover. Figure 25. Julie Doucet, “Heavy Flow”. rpt. in Leve Ta Jambe Mon Poisson Est Mort! (1993). N. pag. Figure 26. Julie Doucet, Dirty Plotte vs. Super Clean Plotte (1991). Rpt. in Leve Ta Jambe Mon Poisson Est Mort! N. pag. Figure 27a-c. Julie Doucet, My Conscience is Bugging Me. (1989). Rpt. in Leve Ta Jambe Mon Poisson Est Mort! N. pag. Figure 28. Julie Doucet, Dirty Plotte #4. (Sept 1991). N. pag. Figure 29. Julie Doucet, Long Time Relationship (2001). N. pag. Figure 30. Julie Doucet, Long Time Relationship (2001). N. pag. Figure 31. Julie Doucet, Elle Humour (2006). N. pag. Figure 32a-c. Julie Doucet, The First Time (June 1993). Rpt. in My New York Diary. N. pag. Figure 33. Julie Doucet, 365 Days (2007). 26/01/03. Figure 34. Julie Doucet, My Most Secret Desire (1995). N. pag. Figure 35. Julie Doucet, The Madame Paul Affair (2000). Episode 20. Figure 36. Stephen Bissette and John Totleben (artists), Alan Moore (writer). Swamp Thing (1984) Rpt. in Swamp Thing: The Saga of the Swamp Thing (1987) Figure 37. Eddie Campbell (artist), Alan Moore (writer). From Hell (1999). Ch. 4, 24. Figure 38. Eddie Campbell (artist), Alan Moore (writer). From Hell (1999). Ch. 4, 27. 7 Figure 39. Eddie Campbell (artist), Alan Moore (writer). The Birth Caul (1999). N. pag. Figure 40. Eddie Campbell (artist), Alan Moore (writer). The Birth Caul (1999). N. pag. Figure 41. Melinda Gebbie (artist), Alan Moore (writer). Lost Girls: Book 1 (2006). Ch. 9, 7. Figure 42. Melinda Gebbie (artist), Alan Moore (writer). Lost Girls: Book 1 (2006). Ch. 3, 8. Figure 43. Dave McKean (artist), Neil Gaiman (writer). Violent Cases (1987). N. pag. Figure 44. Dave McKean (artist), Neil Gaiman (writer). Violent Cases (1987). N. pag. Figure 45a-c. Dave McKean (artist), Neil Gaiman (writer). Mr Punch (1994). N. pag. Figure 46. Dave McKean (artist), Neil Gaiman (writer). Mr Punch (1994). N. pag. Figure 47. Dave McKean (artist), Neil Gaiman (writer). Signal to Noise (1992). N. pag. Figure 48. Chris Ware, “Quimbies the Mouse”. Rpt. in Quimby the Mouse (2003). 10. Figure 49a-d. Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000). N. pag. Figure 50. Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000). N. pag. Figure 51. Chris Ware, Jimmy Corrigan, The Smartest Kid on Earth (2000). N. pag. Figure 52. Chris Ware, “Rusty Brown”, in Acme Novelty Library: Our Annual Report to Shareholders and Rainy Day Saturday Afternoon Fun Book (2005).
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