Best American Comics 2009

.

I know I know I know. This is way overdue. It was way overdue when I got it for Christmas, it was way overdue when I finished reading it on March 22, and it's way overdue now. But at least here it is.

This volume was edited by Charles Burns (but, although it looks like Burns, the cover was actually drawn by Michael Kupperman who also did the Twain and Einstein comic on the inside which I found disappointing.

Today I posted a review of a short-story anthology and I realized that expecting --- or even hoping --- that an anthology only give you works you like is to largely miss the point of anthologies. So I'm going to stop whining about that in my BAC reviews (though I reserve the right to complain for other reasons).

Probably the biggest revelation for me was Kevin Huizenga's "Glenn Ganges in Pulverize." I have heard of Huizenga often enough, but his style and storytelling prowess are very attractive. The way he blends and meshes very different visual ideas into stylistic unity is impressive.

Since this review is so late, I'm not going to go into great depth or detail, but I will list my faves and why and then just leave it at that:

"Artist vs. Artisan" by Peter Bagge: A look at Paul Revere and John-Singleton Copley proves that Kate Beaton ain't the only historical-haha-comics genius on the scene.

The Crumbs entry about a tape dispenser (like I used to use!) is further evidence that they don't suck. I'm happy this is true, since they are so beloved.

Probably my single favorite entry was Dan Zettwoch's creation of old Church bulletins through the decades. I loved this. I just wish they were real. And that I want that to be so proves to me how fully I believed in the world these old bulletins seemed evidence of. Brilliant work.

"Over Easy" by Mimi Pond was a nice bit of fictionalized autobiography-of-an-artist in a sweet and savory cafe.

Dash Shaw's biography of an artist was, in turn, bittersweet and faux savory and rather moving in an underground-man kind of way.

Chris Ware. Brilliant as always. Time to read another Ware book, I think.

Laura Park brings us a snapshot of the intersection between sibling love and sibling loyalty and being really really annoying to each other.

Korem Shadmi's wasn't really all that great, not really, but the concept (hooking up with the decapitated girl) is brilliant.

The Best American Comics (2008)

.

All hail Lynda Barry! I've never been a huge fan of her work, but I have to say that her editing is impeccable. With any collection of this size there will be pieces I can't agree with, but over all this is a marvelous collection. Best one so far from the BAC series.

A few books I liked from the qualifying period appeared in the top-100 but didn't make the final cut. Some I think were mistakes (eg, The Blot) some I liked but won't fight over whether they were "better" (eg, Robot Dreams and Bookhunter which you must click on and go read RIGHT NOW), but none of which change the worth of the collection now sitting on the bed beside me.

Some highlights:

Burden by Graham Annable: A good brother cleans up the bad brother's mess. But it doesn't mean how it sounds.

The Thing About Madeline by Lilli Carré: A fine demonstration of existentialism that doesn't suck. That is, in fact, darn good.

Seven Sacks by Eleanor Davis: It's hard to narrow down which pieces to choose as "highlights", but I really liked this weirdly metaphoric ferry story.

The Saga of the Bloody Benders by Rick Geary: I've read some of Geary's Victorian murder tales before (two here), but this one is a cut above. Perhaps it's just because I don't already know about the Benders, but their story was genuinely intriguing and I need to find the book so I can read the whole thing.

Will and Abe by Matt Groening: This was the funniest thing in the book, bar none. And it was written by Matt Groening! Who is never funny in print! Remarkable!

Turtle, Keep it Steady! by Joseph Lambert: Best musical comic ever? Don't know. Haven't read anything that remotely competes, though.

Berlin by Jason Lutes: No wonder everyone talks about Jason Lutes.

Graveyard by Sarah Oleksyk: Generally, modern comics realism doesn't interest me. But what I've seen from Oleksyk so far reminds me of what it can be.

George Sprott by Seth: I have a desire to like Seth more than I do. This was a huge help in meeting that goal. This look back at one man's life is nuanced and impressive and all I've heard Seth to be.

American Born Chinese by Gene Luen Yang: Although I was disappointed with excerpt, I'm happy to have a chance to plug this book again.

Great collection. I'm sold on the new lead editors and am hoping for the best for Charles Burns's selection about ten months from now.

Best American Comics (a multifaceted rant)

The Best American Comics 2007 edited by Chris Ware and Anne Elizabeth Moore

Just read it and although there was much to like in this collection, there was little to love and I must admit I am deeply disappointed in Ware's selections. Despite his the-lady-doth-protest-too-much introduction, it's clear he was checking boxes and felt obliged to include the Crumbs and Spiegelman and Panter and Hernandez and Barry, etc. This was the sort of plan he used when editing the excellent McSweeney's #13 and it worked there because it was that sort of anthology. But this is supposed to be the Best American Comics of a 12-month stretch, not an education in the best living comics artists, thank you very much. And I refuse to believe that forty years later, R. Crumb is still the best thing we have going, year in and year out.

That said, even though this years issue is edited by in-crowd certified member Lynda Barry, I'm still excited to pick it up. (Which I will next time I'm at Comic Relief as I'm pissed at BnN at the moment.)

First, I have nothing against Lynda Barry. I'm not a big fan, but I can't dismiss her with a sneer as I can, say, a Crumb. Second, she selected a Batman comic for inclusion which makes her waaay more openminded than the last two editors. (To say nothing of the guts it took to profess love for Bil Keane in her intro --- as he may well be the uncoolest guy ever.)

This is my next rant, by the way. DC refused permission to run the Batman. Why? What the heck? Their brains? Where are they?

First of all, that's a kind of cachet superhero comics always seem to begging for; why then reject it?

Second, it may bring in new readers hip to the comics thing but snooty to the major players.

Third, why deny the highbrow a sense of balance? Or humility? Or any other good thing that might have come from it?

So I'm pretty upset at DC right now. And reading this just makes me want to strangle them. Why are they trying to keep their artists in the ghetto? What are they afraid of? Another Image or something? I just don't get it. It's like they're trying to hide the fact that they publish good work.

(Speaking of, Mr Fob, do you have Batman Year 100 so I can read it? Which reminds me, I want to read the new Joker novel as well, if you got it.)

Sigh.

Anyway. Here's to hoping for great things.

In the future.