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"Grace, Dominick, 1963- editor"
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The Canadian alternative : cartoonists, comics, and graphic novels from the north
\"Contributions by Jordan Bolay, Ian Brodie, Jocelyn Sakal Froese, Dominick Grace, Eric Hoffman, Paddy Johnston, Ivan Kocmarek, Jessica Langston, Judith Leggatt, Daniel Marrone, Mark J. McLaughlin, Joan Ormrod, Laura A. Pearson, Annick Pellegrin, Mihaela Precup, Jason Sacks, and Ruth-Ellen St. Onge. This overview of the history of Canadian comics explores acclaimed as well as unfamiliar artists. Contributors look at the myriad ways that English-language, Francophone, indigenous, and queer Canadian comics and cartoonists pose alternatives to American comics, to dominant perceptions, even to gender and racial categories. In contrast to the United States' melting pot, Canada has been understood to comprise a social, cultural, and ethnic mosaic, with distinct cultural variation as part of its identity. This volume reveals differences that often reflect in highly regional and localized comics such as Paul MacKinnon's Cape Breton--specific Old Trout Funnies, Michel Rabagliati's Montreal-based Paul comics, and Kurt Martell and Christopher Merkley's Thunder Bay--specific zombie apocalypse. The collection also considers some of the conventionally \"alternative\" cartoonists, namely Seth, Dave Sim, and Chester Brown. It offers alternate views of the diverse and engaging work of two very different Canadian cartoonists who bring their own alternatives into play: Jeff Lemire in his bridging of Canadian/US and mainstream/alternative sensibilities and Nina Bunjevac in her own blending of realism and fantasy as well as of insider/outsider status. Despite an upsurge in research on Canadian comics, there is still remarkably little written about most major and all minor Canadian cartoonists. This volume provides insight into some of the lesser-known Canadian alternatives still awaiting full exploration.\"-- Provided by publisher.
Book
Seth
Canadian cartoonist Gregory Gallant, pen name Seth, emerged as a cartoonist in the fertile period of the 1980s, when the alternative comics market boomed. Though he was influenced by mainstream comics in his teen years and did his earliest comics work on Mister X , a mainstream-style melodrama, Seth remains one of the least mainstream-inflected figures of the alternative comics’ movement. His primary influences are underground comix, newspaper strips, and classic cartooning.
These interviews, including one career-spanning, definitive interview between the volume editors and the artist published here for the first time, delve into Seth’s output from its earliest days to the present. Conversations offer insight into his influences, ideologies of comics and art, thematic preoccupations, and major works, from numerous perspectives—given Seth’s complex and multifaceted artistic endeavors. Seth’s first graphic novel, It’s a Good Life, If You Don’t Weaken , announced his fascination with the past and with earlier cartooning styles. Subsequent works expand on those preoccupations and themes. Clyde Fans , for example, balances present-day action against narratives set in the past. The visual style looks polished and contemplative, the narrative deliberately paced; plot seems less important than mood or characterization, as Seth deals with the inescapable grind of time and what it devours, themes which recur to varying degrees in George Sprott, Wimbledon Green , and The Great Northern Brotherhood of Canadian Cartoonists .
eBook
Chester Brown
The early 1980s saw a revolution in mainstream comics--in
subject matter, artistic integrity, and creators' rights--as new
methods of publishing and distribution broadened the possibilities.
Among those artists utilizing these new methods, Chester Brown (b.
1960) quickly developed a cult following due to the undeniable
quality and originality of his Yummy Fur (1983-1994).
Chester Brown: Conversations collects interviews
covering all facets of the cartoonist's long career and includes
several pieces from now-defunct periodicals and fanzines. Brown was
among a new generation of artists whose work dealt with decidedly
nonmainstream subjects. By the 1980s comics were, to quote a by-now
well-worn phrase, \"not just for kids anymore,\" and subsequent
censorious attacks by parents concerned about the more salacious
material being published by the major publishers--subjects that
routinely included adult language, realistic violence, drug use,
and sexual content--began to roil the industry. Yummy Fur
came of age during this storm and its often-offensive content,
including dismembered, talking penises, led to controversy and
censorship.
With Brown's highly unconventional adaptations of the Gospels,
and such comics memoirs as The Playboy (1991/1992) and
I Never Liked You (1991-1994), Brown gradually moved away
from the surrealistic, humor oriented strips toward
autobiographical material far more restrained and elegiac in tone
than his earlier strips. This work was followed by Louis
Riel (1999-2003), Brown's critically acclaimed comic book
biography of the controversial nineteenth-century Canadian
revolutionary, and Paying for It (2011), his best-selling
memoir on the life of a john.
eBook